We cordially invite you to the presentation of the book:
A Voice That Once Was in One’s Mouth
by Heimo Lattner
Sunday, December 15, 2013, between 4 p.m. – 8 p.m.
With hot and cold drinks, and readings by:
Brandon LaBelle, Moritz von Rappard, Karolin Nedelmann, Penelope Wehrli,
Daniel Belasco Rogers, Patrick Charles, Heimo Lattner a.o.
A Voice That Once Was in One’s Mouth
Errant Bodies Press: Critical Ear Vol. 6
Book with CD
174 pages, black and white
The book assembles six conversations recorded in Berlin between
Heimo Lattner and colleagues - Karolin Nedelmann, Moritz von Rappard,
Judith Raum, Brandon LaBelle and Jassem Hindi - focusing on the artist's
research and practice. The conversations form a base for exposing key issues
approached in Lattner's work, from Greek theater to city development,
processes of displacement and gentrification to the re-interpretation and
appropriation of cultural traditions, languages and ancient forms of communi-
cation. At the center of the conversations is the recurring theme of the voice,
which Lattner's work queries as fundamental to issues concerning the formation
of social and cultural identity. Lattner asks us to consider how the voice comes
to carry contested meanings.
Heimo Lattner is an artist working with film, video, performance, audio-play,
room installation, installation and intervention in public space, drawing,
cartography and writing. Since the late 90s he has also worked in the collective
e-Xplo with Erin McGonigle and Rene Gabri, developing interventions in
public space. Lattner is a founding member and co-operator of the project-
space General Public in Berlin. He is a guest lecturer at several universities
in the fields of research-based art, public art and creative writing. He lives in Berlin.
Presentation of a Prototype of
GROUND - Multisensory Installation from Anke Eckardt (2013)
Vernissage: Friday 29th November 2013 at 7pm
Opening hours: Saturday 30th / Sunday 1st of December 2013 from 4pm-8pm & Thursday 5th - Sunday 8th of December 2013 from 4pm-8pm
The presentation takes place in cooperation with GENERAL PUBLIC IN EXILE
The GROUND is in motion. Thus it will move the visitors which stand on it. The motion of the ground can be felt via the equilibrium sense (sense of balance), can be seen and can be heard. The grinding, sanding, pushing, bouncing, vibrating, creaking of the mechanically moved material will produce a varity of tonal qualities with diverse roughness and awakes associations of earth quakes, tectonical plates in motion, but also of the diffuse experience of loosing the ground. In 1934 Husserl wrote about the ground as reference for the perception of space and the perception of self, ‘Now, when I “conceive” the earth as a moved body, I use a ground to which all experience of bodies, and hence all experience of continuing to be at rest and in motion, is related.’ (Husserl, 1934). Vilem Flusser as an emigrated jew wrote about a hovering self over the abysm in his auto-biography 'Bodenlos’ (‘Groundless’). In his book 'Vampyrotheutis Infernalis' Flusser analyses the floating 'otherness' of a huge octopus in the deep sea and draws a line to the psychology of human beings.
Concept/Realisation/Composition: Anke Eckardt
Construction: hertzer GmbH, Berlin
Thanks to: Marcus Schmickler
Co-funded by BA Pankow von Berlin - Amt für Weiterbildung und Kultur, Fachbereich Kunst und Kultur and Einstein Foundation Berlin, realized with the support of the Graduate School of the Arts and Sciences.
reduced fragment, size: 10,5m2 vertically moved
42 elements of concrete
42 elements for vertically pushing impulses
Final Installation (January 2014):
size: 30m2, vertically and partly horizontally moved
84 elements of concrete
72 channels of vertically pushing impulses
6 rows of horizontal motion
Sunday November 24, 2013
On Sunday, November 24, textile artist Lisa Simpson presents Fashion Orchestra – a musical sewing performance, in the project space Errant Bodies, on Kollwitzstraße 97, between 5 and 9 pm. During the afternoon, the public can bring their clothes for upcycling, giving new life to old garments. In the evening Lisa joins fellow musicians* and performers in a spontaneous exploration of textiles, music, rhythm and sound. The sewing machine becomes percussion instrument, and garments are constructed live, to the beat of the music. The collaborative performance stitches together improvised music and improvisational clothing.
*musical sewing performance with Fatty Acid Land and special guests Taiko Saito (vibraphone) and Tobias Schirmer (Bass Clarinet): 7pm
General Public in Exile
Talk with Penelope Wehrli
House of Snow – A Real Time Video and Sound Processing Application
Friday, November 15, 2013 - 7:30 pm
Errant Bodies, Kollwitzstrasse 97
A video of bees on a honeycomb structure. The movement of the bees trigger a real time score of text and sound. A layer of rendered scrolling texts about three very different temporal processes (by Stanislav Lem, J.W. von Goethe, Maurice Maeterlink) and a 4-channel audio composition based on material from "my gait", a longterm sound study by katrinem about her own rhythm of walking in urban space are created by a number of set rules.
A piece about perception and time, - and the process of reading and understanding.
A small hommage to Buckminster Fuller.
Penelope Wehrli – concept, video, text adaption
Joa Glassetter – system architecture, implementation
katrinem – sonarisation, composition of sound material
Funded through TESLA Berlin e.V.
Penelope Wehrli - born in Zürich, lives presently in Berlin.
2004 - 09 Professor for Scenography at the University for Arts and Design, Karlsruhe. As scenographer work with Johann Kresnik, Jossie Wieler, Dimiter Gottscheff, Robert Schuster, Barbara Frey at Opera Basel, Schauspielhaus Zurich and Hamburg, Volksbühne Berlin a.o.. Exhibitions, Performances, Installations, Films, Videos have been presented in New York, Belgrad, Bangalore, Tel Aviv. Since 2001 intermedia installations with live-performance. HYPERLINK "http://www.aether1.org" www.aether1.org
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.
Performance by Alexandre St-Onge
Wednesday, October 16th
VIORUPEEEEIHEAN is a sound performance generated by various tactics of pragmatic approach of the ineffable that testify on the emergence of monstrous voices and hermetic entities through the creative process. VIORUPEEEEIHEAN is a heterogenous creature possessed by sound spectres. VIORUPEEEEIHEAN.
Alexandre St-Onge is an audio artist, a musician/improviser (acoustic bass, bass, voice and electronics) and a sound performer. He has studied literature and philosophy and he is currently doing his PhD in art. He is fascinated by creativity as a pragmatic approach of the ineffable and he has released ten solo albums: viorupeeeeihean (Oral), Ailleurs (&records), Aimer la concrescence (MiniAlbum/Absence Of Wax), Entités (Oral), Joseph Carey Merrick (MiniAlbum/Oral), Mon animal est possible (Alien8 Recordings), L’amitié ou les rumeurs insoutenables du désir (Squint Fucker Press), kasi naigo (Squint Fucker Press), Une mâchoire et deux trous (Namskéio Records), Image/négation (Alien8 Recordings). He also plays in quite a few bands, including Et Sans, K.A.N.T.N.A.G.A.N.O., Klaxon Gueule, Pink Saliva, mineminemine, Shalabi Effect and undo. As a composer he has worked for interactive/mixed-media company kondition pluriel, as well as composing for artists such as Marie Brassard, Karine Denault, Lynda Gaudreau, Line Nault, Jérémie Niel, Maryse Poulin and Mariko Tanabe.
Monday September 23rd
Jason Kahn Berlin Concert (2013)
Jason Kahn / composition, drum set
Richard Kamerman / electronics
Bryan Eubanks / soprano saxophone, electronics
Rishin Singh / trombone
Johnny Chang / violin
"Since 2004 I've been realizing graphical scores for different groups of musicians. The scores leave room for improvisation but also impose a time structure on the movement of the pieces and a set of abstract graphical forms for the musicians to interpret. I tend to work with musicians who either I know personally or whose music I have heard, as I compose these pieces for specific people as opposed to just instruments. Each score is composed for a particular group, ranging in size from four to eight musicians. The pieces last from sixty minutes to two hours. I'm as much interested in the social dynamics of the different personalities involved in these groups as the instruments these musicians play."
More information about previous scores can be found at http://jasonkahn.net/scores/index.html
Saturday, July 6th, 2013
A talk by DISCOTECA FLAMING STAR
"DUETT #5 (Loveletter to Pasolini – attempt 1)"
> You should never talk about things that you have not yet done < > You should never work with a baby when it's your own <
In a loving dialogue with Pasolini's "Uccelacci e Uccelini (Hawks and Sparrows)". With empathy to an understanding of one's own work, one's own film, that is yet to be done. Sitting with the audience on Alfombras. Spatial transformations to capture disorders and words. Grown out of the experience of performing songs: they are a scenography, a scenography of the writing that reflects its slippery, fragmentary essence.
DISCOTECA FLAMING STAR:
an interdisciplinary collaborative art group, a group of people which uses songs and other forms of oral expression, understanding them as a personal response to historical events and social and political facts.
Through conceptual, visual and musical transfers, they create performances, sculptures, drawings, stages and situations whose foremost intention is to question and challenge the memory of the public, transforming old desires and finding invented pasts, or pasts which never occurred. DFS is the place where the oracle speaks through the non-chosen. DFS is a love letter written in the present continuous, a love letter to thousands of artists.
They expoit their knowledge and lack of knowledge, working slowly, inspired by Anita Berber, Warhol's wig, ghosts with no home, Rita McBride's "Arena", Greg Bordowitz, Mary Shelley, Karl Valentin & Lisl Karlstadt, the Vienna Group, Alvaro, Joey Arias and David Reed's paintings and dialogues.
DFS present wonderful songs of love, consumption, fervour and feminism, carpets that help to cross burning bridges, fragile essays as drawings, and things that go together even though they shouldn't...
They act directly in the gap between action and documentation, generating and finding documents that can be used to articulate strange tongues and languages that incite action and argument.
Cristina Gómez Barrio and Wolfgang Mayer have been the base of Discoteca Flaming Star since 1998.