Errant Bodies project space is dedicated to experimental work in sound, performance, voice and spatial practices. Through residencies, workshops, events and exhibitions, Errant Bodies emphasizes an engagement with process and dialogue, encouraging a dynamic and diverse approach to the sound arts. As a project space, it also intends to foster social and public activities, contributing to the creative scene in Berlin. It is organized and developed through its working group comprised of Berlin-based sound artists and researchers.
Errant Bodies Celebrates!
Please join us in celebration of our 5-year anniversary as a project space, 20 years as a publisher, and for the launch of Free Berlin No. 2
Saturday, October 10th, 2015 – 19:00
With works by:
Riccardo Benassi, Alessandra Eramo, fliegende Teilchen, Erik Göngrich, Heimo Lattner & Annette Maechtel with Stephanie Kloss and Judith Laub
Errant Bodies is an independent press and project space. It has been developing publishing projects since 1995, initially in Los Angeles and since 2007 in Berlin. Since this time, it has been dedicated to supporting diverse discourses and projects in the fields of sonic and spatial practices, auditory culture and performativity, experimental writing and critical thought. Its publishing activities are developed through a number of series: Critical Ear – on sound and media art, Doormats – on experimental modes of being-political, Surface Tension – on sited work and the built environment, among others.
Errant Bodies further aims to engage the relation between cultural work and its local context through site-based research, collaborative projects, and through its project space. Opened in 2010, the project space fosters local community and international exchange on contemporary artistic topics, with an emphasis on sonic work and engaged listening. Through workshops, presentations and exhibitions, the project space is geared toward experimental research culture and the cross-over between art and social life.
The project space is managed by the Errant Bodies working group, a collective of Berlin-based artists and academics.
Free Berlin No. 2
With contributions from: Mario Asef, Riccardo Benassi, Alessandra Eramo, Erik Göngrich, Heimo Lattner & Annette Maechtel, Matteo Pasquinelli, Allegra Solitude
Free Berlin – free newspaper on the politics of creativity
Published by Errant Bodies Press, Berlin
The publication aims to contend with current debates on the topic of "the creative city" and specifically how "the artist" contributes to the cultural value of Berlin. With the steady intensification of "the Berlin phenomenon" this cultural value both fuels an extremely dynamic social milieu while lending to a political and urban apparatus geared toward economic development. The instrumentalization of creativity as a currency in the city of Berlin (and elsewhere) thus raises complex and important questions as to the role of artistic expression.
The publication considers these current debates around city politics and how creative practice may negotiate (or not) the social and economic consequences. How to deal with such a situation? Is there a way to produce without being complicit in the capitalization of creative expression? What type of critical position is possible? Are there possibilities for strategies of resistance, re-appropriation or withdrawal? What responsibilities (or not) do artists have for the city? And importantly, what are the historical agents that have made Berlin possible as a place of creative action and assembly?
By questioning the ways in which the artist performs as part of the creative city, the newspaper is envisioned as a creative base for diverse perspectives, and in support of free culture. It assembles together articles, expressions and materials from practitioners and thinkers working in Berlin, to bring forward reflections, historical references, and creative interventions.
Available at various locations, including Pro-QM, KunstWerke, Do you read me, and Errant Bodies Project Space.
No. 1, July 2015
With contributions from: Jeremiah Day, Jennifer Davy, Fred Dewey, Erik Göngrich, Brandon LaBelle, Janet Merkel, Marguerite van Sandick, Steffi Weismann
No. 2, October 2015
With contributions from: Mario Asef, Riccardo Benassi, Alessandra Eramo, Erik Göngrich, Heimo Lattner & Annette Maechtel, Matteo Pasquinelli, Allegra Solitude
No. 3 due out January 2016.
Book launch and presentation with:
Sanne Krogh Groth
author of Politics and Aesthetics in Electronic Music. A Study of EMS - Elektronmusikstudion Stockholm, 1964-79 (Kehrer 2014)
with guests Isabel Thomson & Vinyl, terror & horror
Saturday, September 19, 2015 – 19:00h
Politics and Aesthetics in Electronic Music. A Study of EMS - Elektronmusikstudion Stockholm, 1964-79
This book explores the history of the Swedish electronic music studio EMS. EMS was established in 1964 with the intent to create an international centre for research in sound and sound perception, and to build one of the world’s most advanced hybrid studios. The principal creators of the studio were rooted in Swedish modernism, and had the EMS-project shaped in accordance to the social democratic cultural policy of the time. This enabled the project to achieve continuous financial support, as well as to stay at the forefront of technological advances.
EMS is one of the most significant electronic music studios, and for over 50 years it has operated as a place for innovation in the sonic arts, in particular acting as a platform for the development of text sound compositions in the 1960s and 70s. Today, it maintains an active program, and under the leadership of Mats Lindström supports ongoing productions in the field of auditory studies and electronics. The publication by Sanne Krogh Groth captures the history of this amazing place, and tells the important story of its pioneers.
The publication is supported by Statens Musikverk and ZKM, Karlsruhe.
Sanne Krogh Groth (DK, 1975) is MA in Musicology and Theatre studies (2003) with a thesis on Sound Art, and Ph.D. in Musicology from the University of Copenhagen (2010, Kehrer 2014). She is currently affiliated at the Royal Library in Copenhagen, conducting the research project “Composers on Stage” concerning 21st century composers. She is also part time lecture at the University of Copenhagen and editor-in-chief of the online journal Seismograf/DMT (seismograf.org). She has published internationally and occasionally co-curated at events and exhibitions.
Isabel Thomson has been familiar with Elektronmusikstudion in Stockholm since the 1990s and worked there for seven years as the international coordinator, from 2004 to 2011. During this time, the studio underwent big changes, under the artistic and administrative leadership of Mats Lindström.
Vinyl, terror & horror is a collaboration between Camilla Sørensen (b.1978) and Greta Christensen (b. 1977), both graduated from the Royal Danish Art Academy in Copenhagen in 2007/2008. The project is focused on the relationship between objects and sound and is presented in different situations as installation, sculpture, composition work or as live concerts. The work - whether it is a presented as an installation or a concert - uses sound to create a narrative that always directly refer to the medium playing it or the situation it is presented in. The sculptural work includes amounts of various materials where the live concert focuses exclusively on LP-records and turntables.
With support from Statens Musikverk, Sverige and The Swedish Embassy, Berlin.
Sarah Lappin / Gascia Ouzounian
Wednesday, September 16 – 19:30h
You are warmly invited to a presentation and reception with architect Sarah Lappin and musicologist/sound artist Gascia Ouzounian. Sarah and Gascia are co-directors of the research group Recomposing the City: Sound Art and Urban Architectures at Queen's University Belfast. This group brings together sound artists, architects and planners in collaborative projects around the topic of sound and the built environment.
From September through November 2015, Gascia and Sarah will be based in Berlin to conduct research for their project Hearing Trouble. For this project, they are keen to interview sound artists, architects, planners, curators and community activists who have been involved with sound art, soundscape and sound studies communities in Berlin. The event will be an informal opportunity to meet Gascia and Sarah, who will give a short presentation on their project followed by a reception.
All are warmly invited.
The Hearing Trouble project is generously supported by the Arts and Humanities Research Council of the UK.
For more information on Recomposing the City, please visit: www.recomposingthecity.org.
Sound art project by Ylva Bentancor
Opening: Saturday, September 5th, 2015 / 19.00h
Gallery hours: September 6, 7, 11, 12, 13 / 15:00 – 17:00h
"Tittytainment" was a term coined by Zbigniew Brzezinski, the National Security advisor of US president Jimmy Carter, essentially to convey the idea that a mixture of "intoxicating entertainment and sufficient nourishment" can "tranquilize the frustrated minds of the globe's population." The term gained currency during the famous first State of the World Forum held at San Francisco's Fairmont Hotel in 1995, where this idea was apparently proposed as the solution to the "20-80 society" of the 21st century.
I first found the word Tittytainment in the book “The Global Trap”(1997) by Hans-Peter Martin and Harald Schumann. They describe the expression like this:
"...The pragmatists in the Fairmont Hotel reduce the future to a pair of numbers and a term: "20 to 80" and "tittytainment". 20 percent of the working age population will be enough in the coming century to keep the world economy going. "More workers will not be needed", said magnate Washington SyCip. A fifth of all jobseekers will be enough to produce all the goods and perform all the top-flight services that the world society can afford.... What about the others? Will 80 percent of those willing to work be without a job? "Certainly"... The question in the future will be "to have lunch or be lunch", to eat or be devoured. ....The term "tittytainment" makes the rounds... The frustrated population of the world could be kept happy with a mixture of numbing entertainment and adequate food. The managers soberly discuss the possible doses and reflect how the wealthy fifth can employ the superfluous remnant.... The organizers of the three memorable days in the Fairmont imagined themselves underway to a new civilization. However, the direction envisaged by the assembled experts from the executive floors and science leads directly back into the pre-modern age... The world model of the future follows the formula 20 to 80. The one-fifth society is brewing in which the excluded will be immobilized with "tittytainment"."
There are many books written on the subject and people who try to spread information about this kind of phenomenon, who try to open our eyes to at least be a bit critical towards the values that rule the world today. We work hard, we consume loads, and we speak less and less about human values. Materialism is the new religion, we think we do need all this stuff for real. And in the flow of information that gets to us through all possible angles we have no longer the energy to question what is really happening. It is a tricky question, and to bring it up often generates a lot of resistance. People feel stressed about it, of course. And this project cannot claim to pass any truths, its all speculations and personal theories. But what the project wants to communicate is that we will not stop talking about it, we have to continue to reflect about how it looks and express our own feelings of being trapped in this Tittytainment-world, if there is one?
Ylva Bentancor is a Swedish sound artist and composer, with focus in telling sound stories about phenomena’s in the society to create lines of thoughts within the listeners using sounds/instruments as language. She graduated from the Royal College of Music in Stockholm in 2000, with a diploma in Composition. After graduating she where one of the founder and editors of the web magazine Tritonus.nu who later also took over and renewed the Swedish Contemporary music journal in Sweden, Nutida Musik (founded 1957). Between 2003 and 2006 Ylva worked in the department of Composition/conducting at the Royal College of Music, responsible for seminars of Aesthetics and mentor. She’s been involved in projects of many kinds, from school cooperation’s at the Modern Museum in Stockholm to sound art-projects in the Middle East, and in Europe.
ORIGINALFASSUNG#84: Tony Conrad
A co-operation of Errant Bodies & General Public in Exile
Saturday, August 15, 2015, 8:00 pm
Off site location: ACUD, Veteranenstrasse 21, 10119 Berlin
Errant Bodies and General Public cordially invite to an informal talk and conversation with video artist, musician and sound artist Tony Conrad.
Violin player Tony Conrad was one of the pioneers of New York minimalism, of microtonal music and of "deep listening". He worked in 1962 on La Monte Young's "Dream Music" project with the likes of John Cale and Angus MacLise (both future members of Velvet Underground). Despite having recorded very little (or in virtue of it), he remained the purest and most ascetic of the minimalists. His compositions were long tone pieces in just intonation for bowed strings, without any melodic development, notably Four Violins (1964), and his collaboration with Faust, Outside The Dream Syndicate (1972/1973), works which, in his own words, explored the border "between pitch and rhythm". After leaving Young's ensemble in 1965, he focused mainly on cinema, starting with "The Flicker" (1966), a key work in structuralist filmmaking. Since the early 90s, Conrad has been performing again with Faust, as well as collaborating with musicians Jim O’Rourke, Gastr del Sol, and the Dead C. In 2009 his work was exhibited at the Venice Biennale, MoMA, the Tate Modern, and elsewhere. He is represented by Galerie Daniel Buchholz and in New York by Greene Naftali Gallery.
ORIGINALFASSUNG is a series of talks and discussions based on an understanding of collaboration rather than competition motivated by the curiosity of strangers or visitors to tap into different fields, such as science, music, architecture, art, dance, choreography, theater, film, politics, design, media, economics, journalism. ORGINALFASSUNG was initiated by Geoff Garrison, Heimo Lattner and Oliver Baurhenn in 2003.
On Music Archives: Between Preservation and Appropriation
Listening session and discussion with Oswaldo Lares, Gilles Aubry, Peter Cusack and Christopher Kline, presented by Laura Jordan and Guillermo Lares
Saturday, July 18, 2015 / 17:00 – 20:00h
In parallel to the current exhibition Inside the Archive of Oswaldo Lares (1969-89) at Kinderhook & Caracas, this event will focus on material and political aspects of music documentation and preservation practices. After an introduction by Oswaldo Lares about his own collection of traditional Venezuelan music, Gilles Aubry will present elements from the “Paul Bowles Collection of traditional Moroccan Music” (1959). By evoking concrete aspects of these recording initiatives, such as technical, performative, social and archival ones, the participants will discuss the possibilities and limitation of such approaches for preservation purposes, as well as perspectives for creative and critical reappropriations of historical music collections today.
Oswaldo Lares (b. 1932, Maracaibo, Venezuela) began making weekly excursions from Caracas along rural roads spanning from Caribbean villages to the plains to the Amazon rainforest, intent on meeting those people who continued to embody Venezuela's musical heritage. Inspired by the diverse indigenous, African and European influences he found in each town, Lares began to document the musicians, dances and festivals in order to introduce them to a wider audience. In 1971 he acquired a portable Nagra reel-to-reel recorder with which he built an expansive audio archive over the next two decades.
Gilles Aubry is a Swiss sound artist based in Berlin. Informed by researches on cultural, material and historical aspects of sound productions, he uses field recordings, audio archives and interviews to create live performances and sound installations. www.earpolitics.net
Peter Cusack is a sound artist and (improvising) musician, and is also active as a field recording artist and a teacher. The focus of his current work – which he presents in appearances and performances, radio and CD productions, lectures, exhibitions and installations – is our man-made sound environment; the works’ categorical context is shaped by the conceptual approach of acoustic ecology. www.petercusack.org
Christopher Kline is a Berlin based artist, he is co-director/founder of the project space Kinderhook & Caracas. www.christopher-kline.com
Pham, Minh Duc
Presentation of works: Friday, July 10th – 18:00 - 21:00h
There are always edges to the operations of speech, peripheries by which other types of communication and contact can be imagined and produced. Considering these edges and peripheries, Errant Voices brings together sound works by students from the Hochschule für Gestaltung Karlsruhe. Developed through a semester-long course led by members of Errant Bodies, the works search for ways to manifest, perform or occupy creative ways of voicing.
Zwei Pflanzen, eine naturbelassen, die andere aus Plastik, stehen nebeneinander.
Die subtile (Video-)Projektion eines Textes löst ihre dekorative Funktion auf und lässt sie zu Akteuren im Raum werden. Es entsteht ein Dialog, der sich inhaltlich und formal auf einen Prosatext von Francis Ponge bezieht, in dem er das Dasein und die Aussagefähigkeit von Pflanzen beschreibt (in 'Im Name der Dinge' 1942). Nach Ponge drücken sich Pflanzen nur durch ihre Stellungen aus. Diese Ausdrucksform ist für ihn im Vergleich zur mündlichen und mimischen der Tiere, schriftlich. Ein Text, bestehend aus zahlreichen Wiederholungen, der sich wie das ständige Wachsen der Pflanzen, erweitert und durch Anhänge korrigiert. Die Textprojektion wird begleitet von einer Soundcollage, die auf die Künstlichkeit bzw. vermeintliche Natürlichkeit der beiden Objekte Bezug nimmt.
Two plants, one natural the other artificial, stand next to each other. A video projection of a dialogue changes their role from ordinary decoration objects into protagonists of the gallery space. The written conversation is based on a prose text by Francis Ponge in which he reflects upon the existence of plants and their possibilities of expressing themselves (in 'The Voice of Things' 1942). For Ponge, plants only express themselves "through their poses". Compared to oral and mimetic communication of animals, he sees this form of expression as a written one. A text consisting of many repetitions, which extends and corrects itself constantly. Next to the projection there is a sound collage which refers to the artificiality and the alleged naturalness of the two objects.
No Games on Private Land
Diese Installation ist eine Kollage von Verboten und Instruktionen die aus verschiedenen europäischen Städten stammen. Was bedeutet es für das Individuum, wenn er oder sie ständig Verhaltensregeln im öffentlichen Raum befolgen muss? Und was bedeutet dies für unsere Demokratie, wenn die Sphäre des Öffentlichen langsam in private Hand übergeht und somit gegebenenfalls Zusammenkünfte verhindert. Spielen ist fast überall nicht so gern gesehen.
A collage of instructions collected in various European cities, outlining how these instructions try to influence and regulate our behaviour in urban public or private-public spaces. What does potentially losing our public sphere mean for our democracy and capabilities in meeting others? Who has a right to space and who has not?
Games are not really welcome at all.
Stimmen/Voices: Kerstin Möller und Ernesto Estrella
Gleich. Semantische Zerlegung / Semantic disassembly
Gleich porträtiert den Prozess der semantik-offenen Sprachgenerierung, indem das Wort „gleich“ seiner semantischen Bedeutung enthoben wird. Der menschliche Akteur zerstört die Buchstabenkombination und setzt sie kontinuierlich durch die kalte Mechanik der Kombinatorik immer wieder neu zusammen. Durch die Interaktion des Betrachters verschwindet die akustische Ebene des Werkes in visuellen Ebene, wodurch ein Spiel mit der semantischen Ebene des Wortes "Gleich" ermöglicht wird.
Gleich portrays the process of semantic-open speech generation by relieving the German word "Gleich" of its semantic meaning. The letter combination is destroyed by the human actor over and over again and continually put back together through the cold mechanics of combinatorics. Through interaction with the viewer the acoustic level of the work disappears into a visual level, creating a semantic game of the German word "Gleich".
Pham, Minh Duc
Akustischer Spiegel / Acoustic mirror
Stell Dich in die Ecke und erhebe Deine Stimme! Zurückgedrängt in eine Ecke voller Reue und Scham, erkenne ich das Potenzial meiner Stimme. Auf und ab, laut und leise ertönt der Protest. Der Körper schwingt. Und wie es in die Enge klingt, schallt es wieder nach draußen. Das Gesicht bebt. Resonanz.
Go in the corner and raise your voice! Repressed in a corner full of repentance and shame, I recognize the importance of my voice. Up and down, loud and quiet sounds, the voice protests. The body is pulsating. And as it sounds in the narrowness, it sounds out. The entire face trembles. Resonance.
Auch wenn du durstig bist, wirst du im Pazifischen Ozean kein Trinkwasser bekommen / Even if you are thirsty, you will not get drinking water in the Pacific Ocean
Wie bist du hierher gekommen?
Was tust du hier?
Bewegst du dich unbewusst?
Folgst du einem Plan?
Bist du müde?
Im Pazifischen Ozean schwimmt ein Wal, welcher von seinen Artgenossen vermutlich nicht verstanden wird.
How did you come here?
What are you doing here?
Are you moving unconsciously?
Are you following a plan?
Are you tired?
There is a whale living in the Pacific Ocean which is presumably not understood by his fellow species.