TWO SCREENINGS OF:
VORFELD’S SLIDE SHOW (UA)
FOR 11 SLIDE PROJECTORS AND 489 SLIDES
MICHAEL VORFELD: VISUALS AND SOUNDS
ILLUSTRATION & CLOUDS (UA)
YUMIKO HEGENBART-MATSUI: SLOW ANIMATION
BORIS HEGENBART: CLOUD BLOCKS
Saturday, July 19, 2014
First Screening of both pieces at 21:30h
(the first screening will start promptly at 21:30)
Second Screening of both pieces at 22:30h
(the second screening will start promptly at 22:30)
The Living Matter of History
the first Acousmatic Lecture
Thursday, July 10th from 10 - 11pm
We are the living matter of history, traveling trough different scales of reality. Our materiality, our own bodies, far away from the dominant cybernetic representations of macromolecular machines, from the genetic programming of psychological and social levels, are open to new possibilities, with multiple spaces for chaos and the creation of order. We will take a look at the role of chance in our ontogeny, which makes that for the same initial situation more than one phenotipic output is possible: that is developmental noise, a dimension of phenomena that helps us to understand that the differences between organisms can not only be explained only in terms of genetic and environmental variations. Being conscious of the multiple interactions between macro and micro levels, our subjectivities may change and help us to think, move, and experience our bodies differently, to create a more hopeful relationship with nature.
Federico Geller studied and taught Biologic Sciences at the University of Buenos Aires. He is a member of “Abriendo Caminos/La comunitaria TV”, a collective which endeavours to create communication tools (video, interventions, graphic material) for grass-roots political work and cojuncture situations. He also works in “Jeta Ka’i”, a team that aims to popularise biological knowledge and to discuss its technological applications and social consequences. Some of his designs and drawings have been shown in ExArgentina/La Normalidad (Berlin-Köln, Buenos Aires 2003-2006), The Future of Reciprocal Readymade (New York 2005), Kollektive Kreativität (Kassel 2005), Pay Attention to Ham (Köln 2008), Que Viva la Diversidad (Santa Fe, 2010),Truth Is Concrete/Steirischer Herbst (Graz 2012). Geller lives in Buenos Aires and Berlin.
The Acousmatic Lectures are a series of discursive auditory experiences based on the Pythagorean acousmatic model, a mode of presentation in which the orator is hidden from the public. Acousmatic presentation encourages both orator and listeners to focus exclusively on the spoken word, its temperament, tone, and stimulus, without the visual aid of supplementary images or the body language of the speaker. For this series of lectures, all visual clues provided by the speaker’s facial and bodily expressions, which are capable of influencing the reception of the information presented, are to remain hidden. Nonetheless, the physical presence of the speaker will still be made evident through the speaker’s voice, all acoustical aspects, and their dissemination into the space surrounding him/her. In so doing, the dialectical confrontation between abstract and sensorial information is underscored. Acousmatic Lectures, currently in development, is a program that invites professionals working within an artistic discipline or method to give an acousmatic account of their central topic of research.
Concept and organisation by Mario Asef for Errant Bodies Group, Berlin.
a presentation on non-narrative music, language, and time
Monday, July 7th - 7pm
Biliana Voutchkova - violin
Johnny Chang - viola
Catherine Lamb - viola
Marta Navarro - cello
Tiago Cutileiro concluded recently his PhD in Music and Musicology on the concept of Opera and Non-Narrative Music. Using different means like sung voice, spoken voice, and video projected text, his research tries to find points of connection between a music that thoroughly avoids a paradigm of quasi-linguistic articulation, on one side, and the paradoxical use of text within that same music, on the other. His work includes instrumental music (chamber and orchestral; with or without electronics), electronic music, sound installations, and music for theatre and film ( http://thegiveups.wordpress.com/ ).
Dear friends and colleagues,
on Sunday June, 29th, 17.00 Korhan Erel and Antje Vowinckel present a sound art program at
1 - Novel in glass. Turkish sound vitrines based on motifs by Orhan Pamuk. By Antje Vowinckel, Produktion HR/SWR 2014, 54 minutes
2 - The Threshold. Film by Fabian Astore (Sound design Korhan Erel), (Joint winner of the Blake Prize 2012), 7 minutes
3 - Improvisation Korhan Erel, computer and controllers, Antje Vowinckel, organ and objects, 15 minutes
Parallel to his novel "The Museum of Innocence" Orhan Pamuk had built a museum of the same title in Istanbul, assembling objects that play a role in the novel. In more than 80 vitrines the objects correspond in a new way and convey the zeitgeist of the western orientated upper class in Istanbul's 70s. Commissioned by HR and SWR, Antje Vowinckel transformed the idea of the museum into acoustic images, using glass
resonances as an acoustic metaphor for the vitrines.
Sitting at the threshold, the presence of childhood innocence renders complex boundaries to a moment of spiritual elevation. A video recorded serendipitously in Istanbul, Turkey in January 2012.
The Stranger that is next to me
A collection of audio works from practitioners around the world concerned with and focused on The Stranger ....
that is over there, that is right in front, that is moving away, that is fast approaching, at the next table, sitting across, staring into space, with nothing to do, that brushes passed, or that bumps into me, outside, on the beach, that interrupts, and that suddenly lends a hand, as the embodiment of city life, that I cannot overlook, whose fortune is to remain on the periphery, who dislikes being a stranger, riding his bike, that stops to look into the window, on her phone, that is no one and everywhere, that I do not know nor ever will, whose eyes never stop moving, that smiles at us or that seems threatening, that loves to sing in public, without a home, and that I wish to meet, that I overhear, and as a question of community.
Saturday, June 14th, 6 - 11pm / audio diffusion
Organized by Brandon LaBelle in collaboration with Osso, Lisbon
Including works by:
Iride Project - Massimo Davi & Monica Miuccio
Juan Carlos Vásquez
Mario Lautier Vella
D. Burke Mahoney
Yuri Sousa Lopes Pereira
Jan van den Dobbelsteen
Sandrine Deumier and Alx P.op
Ashley Fu-Tsun Wang
Pedro Albuquerque de Araujo
Kasper Vang & Jan Høgh Stricker
Richard Crow & Lucia Farinati
Milos & Slavica
Ricardo Paraíso Silvestre
John F. Barber
Mohammad Reza Taherkhani
MUSICA FUTURISTA: THE ART OF NOISES
"ROARS_BANGS_BOOMS" Variation for Voice, Gesture and Drawings
Opening and Live-Performance Saturday, 3 May 2014, 19:30
Exhibition: 4 – 11 May 2014
Gallery hours: by appointment (write to firstname.lastname@example.org)
"The variety of noises is infinite. If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises - tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty thousand different noises, not merely in a simply imitative way, but to combine them according to our imagination."
from "The Art of Noises" Luigi Russolo, 1913
101 years later, Italian/German sound artist and vocalist Alessandra Eramo interprets the Futurist Music Manifesto “The Art of Noises” of Luigi Russolo, using the human voice. Starting in 2013, the performance is based on Russolo's statement that the sonic palette of noises, generated by machines and the urban soundscape requires a new approach to musical instrumentation and composition. Therefore noise not only becomes a Leitmotiv in music but it also turns into musical material itself. The list of words that recall different sounds - such as thunder, whistles, roars, booms, grumbles, snorts - is part of the Futurist manifesto. These "onomatopoeic" words are the origin of the performance project “ROARS_BANGS_BOOMS” for which Alessandra Eramo wrote 7 variations for voice.
At Errant Bodies she will present the Variation #4: She exhibits her large-format drawings as graphic transcriptions of the onomatopoeic words that in a performance she will interpret with her body and voice.
Project's website: http://ezramo.com/works/musicafuturista/picture.html
Alessandra Eramo is a musician and artist working with extended vocal techniques, field recording, noise, sound and visual poetry. In the past ten years she presented her live-performances, compositions, videos and installations at numerous exhibitions, festivals and events in Europe, USA and Canada including: Galerie Haus am Lützowplatz Berlin, Padiglione Italia nel Mondo - 54th Venice Biennale, Liverpool Biennial 2012, Harvestworks New York, Lyd & Litteratur Festival Aarhus 2012, Sonic Circuits Festival 2011 Washington DC. Collaborations with performers, poets, improvisors and composers include: Gino Robair, Ingrid Schmoliner, Tomomi Adachi, Marta Zapparoli, Seiji Morimoto, Steven J. Fowler, Doug Van Nort. She was trained in classical singing, piano, music theory since an early age. She's graduated with honors in visual art, experimental music and performance art in Milan, Stuttgart and Venice. In 2010 she co-founded "Corvo Records. Vinyl and Sound Art Production". She lives in Berlin.
performance / presentation
Wednesday, April 16th, 2014 - 7:30pm
I have most recently been working with ideas of audienceship in conjunction with notions of sympathetic resonance and empathetic feedback loops. At Errant Bodies, returning to some conceptions of public address systems, I will mix in ideas of sound absorption and diffusion, experimenting with polyrhythms of atmosphere and amplified talk in doing so.
Johnny works in Bergen, Norway having studied for free at the Bergen Academy for Art and Design. He previously studied music composition in England and Germany.