Errant Bodies events
An exhibition and presentation of sound and experience in Chennai, India from Jeremy Woodruff and Susanne Matsche, new works exhibited from Nakul Krishnamurthy, Sukanyan Sunthareswaran, and Zeeshan Nabi.
Mit fluctuating images. contemporary media art, Cornelia Lund & Holger Lund, zu Gast bei Errant Bodies – Projektraum für Klangkunst.
Moderation: Andreas Rauth
Am 13. Mai spricht Andreas Rauth mit Cornelia und Holger Lund über Theorie und Praxis des zeitgenössischen Feldes audiovisueller Kunstproduktion, der Landscapes of Sound & Image.
Mehr Informationen: http://www.jitter-magazin.de/wunderblock-no-21-landscapes-of-sound-image/
Radio art by British artist Barry Bermange
processed in an old “moviola”, a device for analogue film editing. (For these pieces no German is required)
Barry Bermange was born in London 1933, where he still lives. He developed his first radio pieces in the BBC Radiophonic
: positions in contemporary radio art / Positionen aktueller Radiokunst
What’s the difference between a pirate and a privateer? It’s not the act, it’s the authority. Only the privateer – who seems to be acting purely on his own initiative – has the papers authorizing him to do so. The histories of broadcasting and maritime law are closely intertwined, as we can tell from their similar forms of organization. Radio has its public and private branches, and its pirate ones too. But these clear distinctions are no longer valid in today’s radio landscape. Podcasts, web archives and the internet have caused shifts in content types, listening areas, audiences and jurisdictions. So is something being commandeered? If so, how? And most importantly, what?
A travers le savon. Erweiterte Übersetzung in Ton, Bild, Gesten und Geruch – Performance by Ines Lechleitner
Local Sound Art Scenes / in collaboration with DAAD Artists-in-Berlin Program and Deutschlandradio Kultur
Moderation: Marcus Gammel
Rhythms Of Presence (2015)
Installation by Tao G. Vrhovec Sambolec
Artist in residence at Errant Bodies Project Space, BerlinOpening: Friday, November 20th, 2015 at 19:00 – 21:00
Exhibition from 20.11.2015 – 19.12.2015
Opening times: Thursday to Sunday, 11:00 – 17:00 and by appointment (contact: eb(at)errantbodies.org)
Intervention by Stefan Thut: 5.12 – 7.12. 2015, times TBAErrant Bodies
www.errantbodies.orgThe installation Rhythms of Presence is comprised of two large floor surfaces. One is discretely installed at an undisclosed location and the other in the exhibition space. They are identical in size and shape. The floor surface at the undisclosed location is sensing human steps, transmitting their temporal and spatial information to the exhibition space, where a grid of mechanical knockers is invisibly tapping the rhythms of the remotely detected steps and following their paths from below the floor surface. Focusing solely on rhythms and paths of everyday walking, the installation Rhythms Of Presence aims to capture the invisible aspects of walking and investigate how they contribute to constituting presence, subjectivity, temporality and spatiality.Displacing and superimposing the walking rhythms and paths of one place to those of another, the installation creates a hybrid and asymmetrical space where two simultaneous present times and presences interfere. A floor that becomes unknowingly performative and a floor that echoes steps from an unknown origin together form an open unsitely space that is both here, somewhere else and at the same instance nowhere and in-between. Stepping in this space one inhabits a concrete, yet un-mappable and disoriented territory.During the exhibition at Errant Bodies Project Space artists, dancers, thinkers, writers and musicians will be invited to inhabit, question, activate, investigate, interpret and together imagine this space in becoming.The installation Rhythms Of Presence is part of the three-year artistic research project (2013-2016) carried out under the Norwegian Artistic Research Programme at Bergen Academy of Art and Design, Norway.Tao G. Vrhovec Sambolec (SI/NL/NO) is an artist and musician working with invisible ephemeral phenomena and the notion of space. His artistic practice is a poetic exploration of relationships between transitory and temporal phenomena like sound, weather and human activities and built environment and social spaces they inhabit. In his installations, he makes architecture sensitive to its immediate ephemeral surroundings and creating situations where the outside and inside, the unpredictable and constructed, the permanent and temporal converse. His works encompass interdisciplinary and mixed media installations, sound interventions and electro acoustic music. Tao is currently research fellow at the Bergen Academy of Arts and Design (KHiB), within the Norwegian Artistic Research Fellowship Programme. He has shown and performed in various museums, project spaces, galleries and festivals internationally.Software and hardware development: Mr. Stock Interfaces
Carpenters: Seamus Cater, Bill Earwaker
Norwegian Artistic Research Programme and Bergen Academy of Art and Design
Zavod SPLOH, Ljubljana – Slovenia
Zavod Projekt Atol, Ljubljana – Slovenia
Supported by: Ministry of Culture of the Republic of Slovenia
Showbots Engineering GmbH – BERLIN
Thanks to James Beckett
What is the sound of protest?
A performative evening and temporary exhibition
Curated by Joseph Young6-8th November 2015Vernissage 6-9pm on Friday 6th November
performances and talks start at 7.30 sharpContinues 11-5pm, 7th & 8th NovemberErrant Bodies
www.errantbodies.orgDoes the sound of a coffee machine in a an artisan coffee shop signal a resistance towards the globalisation of the high street and is the sound of birdsong a protest against urban development?Brighton (UK) and Berlin based artist Joseph Young continues his investigation into artistic utopias, revolutionary moments and social struggle to uncover some of the unlikely forms that the sound of protest might take.Via invitation and an open call Joseph has selected a number of artists to collaborate with him in this short investigation; starting with a field recording and workshop weekend and ending in a temporary exhibition and performance event.Featuring contributions by:
Raghed Barakat/ Helgard Müller/ Nicodemus/ Thomas Stern, Vincent Chomaz, Israel Martinez, Sybella Perry, Harry Ross, Stan Back & The Noise Glam, Lorenzo Tripodi, Symeon Yovev, Fred Dewey, Janine Eisenächer, Troy Mighty, Lars Müller, Michelle-Marie Letelier & Maria Verónica Troncoso, Erik Smith, Linda Weiss.
More details at www.artofnoises.com
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. 2Saturday, October 10th, 2015 – 19:00With works by:
Riccardo Benassi, Alessandra Eramo, fliegende Teilchen, Erik Göngrich, Heimo Lattner & Annette Maechtel with Stephanie Kloss and Judith LaubErrant Bodies
www.errantbodies.orgErrant 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 Grothauthor of Politics and Aesthetics in Electronic Music. A Study of EMS – Elektronmusikstudion Stockholm, 1964-79 (Kehrer 2014)with guests Isabel Thomson & Vinyl, terror & horrorSaturday, September 19, 2015 – 19:00hErrant Bodies
www.errantbodies.orgPolitics and Aesthetics in Electronic Music. A Study of EMS – Elektronmusikstudion Stockholm, 1964-79This 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 OuzounianWednesday, September 16 – 19:30hErrant Bodies
www.errantbodies.orgYou 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 BentancorOpening: Saturday, September 5th, 2015 / 19.00h
Gallery hours: September 6, 7, 11, 12, 13 / 15:00 – 17:00hErrant Bodies
www.errantbodies.org”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 ExileSaturday, August 15, 2015, 8:00 pm
Off site location: ACUD, Veteranenstrasse 21, 10119 Berlin
Admission freeErrant 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.www.generalpublic.de
On Music Archives: Between Preservation and AppropriationListening session and discussion with Oswaldo Lares, Gilles Aubry, Peter Cusack and Christopher Kline, presented by Laura Jordan and Guillermo LaresSaturday, July 18, 2015 / 17:00 – 20:00hErrant Bodies
www.errantbodies.orgIn 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.netPeter 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
Errant VoicesMax Negrelli
Pham, Minh Duc
STRWÜÜPresentation of works: Friday, July 10th – 18:00 – 21:00hErrant Bodies
www.errantbodies.orgThere 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.-Max Negrelli
Posing plantsZwei 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.
Count and Strike and Spin
Marla Hlady in collaboration with Christof Migone
Opening reception: Monday June 29, 19:00h
From June 27th to July 5th, Hlady and Migone will inhabit the Errant Bodies Sound Art Space with a project that is somewhere between an installation, a performance and a residency. Together Hlady and Migone will compose, experiment, improvise, listen, alter, converse…over seven days as they explore what their band is in this particular space.
This residency project is based on an on-going premise for sound collaborations developed by Hlady in which she takes some element of a collaborator’s practice and mechanizes it. Hlady’s own mechanical instruments are also part of the mix. The project asks questions such as: What would it be like to be surrounded by an instrument (an instrument that fully embraces being an apparatus, an assemblage of parts)? What if some of these instruments were kinetic, moved on their own? And what would happen if this instrument, with all of its parts, could be mobile, moved to different resonant spaces as a way to explore a variety of acoustic sites? Migone’s Hit Parade performance was the starting premise for the present collaboration. In Migone’s Hit Parade microphones are used by live performers as crude, hammer-like instruments for percussion. Mechanizing an action raises questions about skills, labour, economy, duration and obsolescence. This mechanical band performs with both the limitations and the expanded control a machine and its computer program allows—in other words, methodically yet also haphazardly. As a band, in the collective rhythm produced by this ensemble of machines, the social side to sound making is foregrounded. Hlady complements the hitting microphones with mechanically spinning microphones. They will twirl, turn, shift and displace discussions about the project occurring throughout its run; they will wah-wah ideas around.
The work has 3 parts:
A microphone stand is placed in front of the window; microphones are attached to both ends of the boom arm. The stand has been modified to motorize the boom arm: the two microphones now move back and forth tapping the window. As one microphone hits, a read-out counts up to one million; as the other microphone hits, another read-out counts down. The microphones are amplified some of the time, unamplified at other times and provide a base rhythm for the overall project.
It takes approximately 57.87 days (1,388.8889 hours), 24 hours a day for this machine to become a millionaire.
Three identical microphone-hit-machines use microphones as percussion instruments. These machines are designed to run independently, controlled by a microprocessor; and they are designed to be manually adjusted through control dials and through various alterable appendages. Each day the percussion possibilities are altered and experimented with.
Three identical machines spin shotgun microphones at various speeds. These machines are designed to run independently, controlled by a microprocessor, or they can be controlled manually with a foot pedal.
Starting June 28 and ending July 4, a guest will participate in a conversation. Each conversation is recorded using untreated and treated microphones (i.e. the spinning microphone). This sound is processed and used in the space the following day as a sound element, again using the spinning microphones as a way to further process the sound.
Conversation schedule: Saturday/Sunday 16hr, weekdays 18hr
Sunday, June 28 – Gwen MacGregor + Lewis Nicolson
Monday, June 29 – Caleb Kelly + Kusum Normoyle
Tuesday, June 30 – Linnea Semmerling
Thursday, July 2 – Kristan Horton
Friday, July 3 – Emma Waltraud Howes
Saturday, July 4 – Heidi Sill + Michael Schultze
Marla Hlady draws, makes sculpture, works with sites and sounds and sometimes makes video. Hlady’s kinetic sculptures and sound pieces often consist of common objects (such as teapots, cocktail mixers, jars) that are expanded and animated to reveal unexpected sonic and poetic properties often using a system-based approach to composition. She’s shown widely in solo and group shows in Canada, US, Italy, Britain, Norway and Iceland. She has mounted site works in such places as the fjords of Norway, a grain silo as part of the sound festival Electric Eclectic, an apartment window in Berlin, a tour bus in Ottawa, the Hudson’s Bay department store display window and an empty shell of a building. She also, at times, collaborates. Hlady completed her BFA at the University of Victoria, and her MFA at York University. She is currently an Associate Professor at the University of Toronto in the Department of Arts, Culture and Media and is represented by the Jessica Bradley Gallery.
Christof Migone is an artist, curator, teacher and writer. His research delves into language & voice, bodies & performance, intimacy & complicity, sound & silence, rhythmics & kinetics, translation & referentiality, stillness & imperceptibility, structure & improvisation, play & pathos, pedagogy & unlearning, failure & endurance. He is currently working with telephones as diaristic and synoptic vehicles, the raw material to make records as indexical performative objects of potentiality, and microphones as gestural and sculptural instruments that foment dissent. He co-edited the book Writing Aloud: The Sonics of Language (Errant Bodies Press, 2001) and his writings have been published in Aural Cultures, S:ON, Experimental Sound & Radio, Musicworks, Radio Rethink, Semiotext(e), Esse, Inter, Performance Research, etc. His writings on sound art are compiled in Sonic Somatic: Performances of the Unsound Body (Errant Bodies Press, 2012). He obtained an MFA from NSCAD and a PhD from the Department of Performance Studies at the Tisch School of the Arts of New York University. He lives in Toronto and is an Assistant Professor in the Department of Visual Arts at the University of Western Ontario.
Vocal Rhythms – from Recitation to Repetition & Resolution
Artist talk and performance by Morten Søndergaard & Marie HøjlundSunday, June 14th, 2015 – 19:30hErrant Bodies
www.errantbodies.orgThe Danish composer and sound artist Marie Højlund and the Danish poet Morten Søndergaard have collaborated in many ways, but first and foremost through exploring the relationship between words, sound and music together. Morten has written the lyrics for two of Marie Højlund’s albums with Marybell Katastrophy and they both take part in all sorts of music and art projects in the active scene around the members of the band (that also include Jakob Schweppenhäuser, Emil Thomsen and Klaus Q Hedegaard Nielsen). In the talk and performance at Errant Bodies they will talk and perform both solo and together.Marie Højlund explores the voice as a disruptive agent dissolving the divisions between inside and the outside and the way it is rendered and translated through other objects. The voice as a temporary rhythmic and fragile environment. Our most faithful and intimate companion but consistently a strange stranger. She will use her own voice through looping, distorting, layering and processing in her performance, as well as present projects where she engages citizens’ voices in art projects, as in the project Lys, Landskab og Stemmer (www.lysogstemmer.dk) where she and Elle-Mie Ejdrup Hansen collected 758 different voices in East Jutland reading Inger Christensens poem Lys (Light) aloud. The recordings were transformed into a 24-speaker outdoor composition presented in six different sites, each six hours long, one for each site, unfolded over six evenings in 2011.// Video clip from one of the six evenings at Trehøje: https://vimeo.com/32379599
// Performance with a high school choir at a shopping mall in Aarhus: https://www.youtube.com/watch?v=eVLSKhqnbvIMorten Søndergaard is a poet, but he works in many others fields but always on the base of words. He often works with repetition and looping as medium and he will reflect on this in his piece at Errant Bodies, as well on difference between or coincidence with sound and sense. He will literally play his books and he will give his own personal reading of Brandon LaBelle’s book “Lexicon of the Mouth”.// http://mortensondergaard.net/english/
Marie Højlund (born 1979) is a sound artist and composer and has exhibited sound art installations around Denmark including Love Alley, Kunsthal Aarhus, Kunsten Aalborg, Roskilde Museum for Samtidskunst and Spor Festival. As a composer under the alias Marybell Katastrophy she has won critical acclaim, awards, received numerous grants and commissions, released several albums and played concerts and festivals in Denmark, Germany, Austria, England, Ireland, France and Italy including Roskilde Festival (DK) and Nordklang (AU). She is currently undertaking a PhD in Audio Design at The Department of Aesthetics and Communication at Aarhus University, Denmark. In her practice-based and artistic research she is particularly interested in exploring different strategies to create dynamic atmospheres with sound and voices integrated into the physical environment in shared spaces in the Danish hospital.
Morten Søndergaard (born 1964) is one of the foremost of the generation of Danish poets to emerge onto the scene in the early nineties. Søndergaard’s first collection of poetry, Sahara i mine hænder (Sahara In My Hands) was published in 1992. This debut collection has been followed by a succession of works which have won him both critical acclaim and a number of literary awards. Language is Morten Søndergaard’s medium and his métier, one which he practises not only as a poet, but also as a translator, sound artist and literary editor. And while his craft is solidly rooted in the classic poetic tradition he is constantly intent on exploring the possibilities of language and new ways in which these can be presented. Over the years, alongside his written publications, this has resulted in musical and dramatic works and in recordings, exhibitions and installations centring on language and sound. Morten Søndergard’s most recent publication is The Process and Half the Kingdom (2010) and Pros and cons of developing wings (2013). – Barbara Haveland
two days of exhibition and concerts
Thursday, June 4, 2015
exhibition of graphic and photographic works by Michael Vorfeld
Christian Wolfarth, solo – cymbals
Michael Vorfeld, solo – percussion and projection
opening of the exhibition: 19h, concerts: 20:30h
Friday, June 5, 2015
exhibition of graphic and photographic works by Michael Vorfeld
VORWOLF, a duo concert with:
Christian Wolfarth – cymbals, Michael Vorfeld – percussion
exhibition open from 15h on, concert: 20:30h
Michael Vorfeld has been working intensively with the photographic medium since the 1970’s. The graphic and photographic works shown in this exhibition were all realized with a large size analogue camera. The images provide a finely nuanced and filigree view into an unconventional, independent, and individually formed world within contemporary percussion music.
In their very sound oriented work, the two percussionists Michael Vorfeld and Christian Wolfarth create music that transcends the boundaries of improvised and composed music, as well as those between instrumental and electro acoustic music, showing the influence of electronic music on contemporary musicians. By using unconventional playing methods and individually arranged set-ups of percussion instruments these two drummers create polyrhythmic structures and textures as well as soundscapes full of overtones, leading to a unique and distinctive world of sound; pure acoustic music, absolutely live!
Michael Vorfeld (Berlin), musician and visual artist plays percussion and self designed string instruments and realises electro-acoustic sound pieces. He works in the field of experimental, improvised music and sound art. Michael Vorfeld creates installations and performances with light and sound, works with photography and film.
Christian Wolfarth (Zurich) works as a drummer at the interface of improvised music, electro-acoustic sound art and Jazz. Besides his frequent solo activities he is a member of numerous ensembles. He regularly works with dancers, for theatre, movies and videos.
Celebration launch: Grafters’ Quarterly Issue No.3 – Social Thing Person
with a presentation by the editorsSaturday, May 23rd – 19:00hErrant Bodies
www.errantbodies.orgThe third issue of Grafters’ Quarterly, Social Thing Person, revolves around the axis of fetishism, particularly binding together conceptions of the spiritual and commodity fetish. The term is traced through its varying usages and its now seemingly inherent prejudices – prejudices also present in Marx’s usage of ‘fetishism’ when expressing the power commodities hold over consumers (who in turn deny such bewitchment). Contributors to this issue have tackled the subject both by commenting upon and enacting within configurations of the powerful ‘social things’ in which they find themselves enmeshed.In this issue we are excited to be able to offer forward newly-commisioned contributions from John Cussans, Maria Fusco, Dominique Hurth, Emil Keller Skousen, and Gabriel Johann Kvendseth, aside reprinted material by Aanka Batta & Steffen Böhm, Ferrante Imperator, Michel Leiris, Gertrude Stein, and Valerio Valeri.-Grafters’ Quarterly is an English-language newspaper shaping a forum for engaged attitudes and was formed to address the renewal of theorising as an activity of initial discovery by addressing what we perceive to be a lack of rigorous, considered activity adjacent to what is often contemptuously partitioned as ‘theory’. Concerned by this attitude, one particularly prevalent in art, Grafters’ Quarterly is a space in which participants from differing fields can develop their writing and ideas rigorously without the stylistic restrictions of academia.Historically, newspapers have acted as congregators of social conscience, proliferating a vocabulary for current events. We feel it is still a forum with which such sympathy can be practiced through a consideration of the coalesced perspectives and activities of focussed and engaged contributors, the newspaper being open to others without dictating a hyper-rapid mode of address and information relay, but by insisting on a sense of urgency, believing in the persistence of what is presented.Founded and edited by Tora Endestad Bjørkheim & Johnny Herbert.
Supported by Arts Council Norway and Bergen Municipality.
no sound is illegal – kein sound ist illegal
Sound installation by – Klanginstallation von Georg KleinOpening – Eröffnung / May 10th, 19:00
Exhibition – Ausstellung / May 11th – May 17th, 2015
14:00 – 18:00 daily – täglichErrant Bodies
http://www.errantbodies.orgkein sound ist illegal is part of the 4th block in the Voice Observatory: The Collective Voice
https://thevoiceobservatory.wordpress.com/2015/04/20/the-collective-voice/Wie erreichen wir die Anderen? Wie verschaffen wir uns Gehör ? Jede sozio-politische Bewegung stellt sich diese Fragen, entwickelt verschiedene Strategien – ob zur Wende ’89, im arabischen Frühling oder in Griechenland.
Die interaktive Installation spielt mit dieser Frage, dem Herstellen von Kontakt, dem Verhältnis von Innen und Aussen, von Aktivem und Passiven. Der öffentliche wie private Raum wird in einer Schaufensterkonstellation gegenseitig zur Bühne und es entstehen visuelle wie akustische Berührungen in einem politischen Textfeld.no sound is illegal
How do we reach the others? How do we get into someone’s ear ? Every socio-political movement deals with these questions, and develops different strategies – whether we are talking about the fall of Berlin’s wall, the Arab Spring or in the protests in Greece.
This interactive installation brings forth these questions: how contacts are made, how the relation between inside and outside, active and passive is built. Public and private space will get give a stage to each other in a shop-window constellation, producing visual and acoustic touchs in the political texture.
Come join us for a fabulous one day art event:
We are at that barWith sound, video, sculpture, performance and textiles. Produced by artists from The Bergen Art Academy as part of Haptic Matters – sensing beyond the sensible, or walking DanzigerStr. with Lefebvre.Friday, May 1st / 16.00 – 20:00hErrant Bodies
Ingrid Skåland Eriksen
Renate Synne Handal
Ingeborg Wie Henriksen
Per Erik Larsen
Hedda Grevle Ottesen
Siri Frances Wachtelius Wibell
Mikel R. Nieto – About, listening
(or 14 interviews with 14 sound artists)Thursday, April 16th – Saturday, April 18th / 14:00 – 18:00hErrant Bodies
www.errantbodies.orgIn collaboration with FASE 2015.
www.fasefest.org”About, listening” is a sound installation about listening. 14 speakers are distributed in an empty room as an Acousmonium. Each speaker reproduces different excerpts from 14 interviews made with 14 sound artists. The answers reflect diverse opinions when we speak about listening, sound, sound art or noise. This sound installation doesn’t try to create an answer, it’s not a choir, it’s just different voices talking about, listening.Interviews with: Oren Ambarchi (Australia), Gilles Aubry (Switzerland), Xabier Erkizia (Spain), Christian Galarreta (Perú), Rubén García (Spain), John Gzrinich (Estonia), Carl Michael von Hausswolff (Sweden), Zbigniew Karkowski (Poland), Francisco López (Spain), Álex Medizabal (Spain), Israel Martínez (Mexico), Lee Patterson (England), Rodrigo Sigal (Mexico), Rafael Toral (Portugal).-Born in Donostia, San Sebastián, Mikel studied art in San Sebastian, Madrid and Barcelona. For years has been immersed in the phonographic practice and theory that aims from it. He has taught workshops in different cultural centers and universities focused on sound art, field recordings, phonography, soundscape, improvisation and listening with different sound artist (Jean Luc-Guionnet, Slavek Kwi, Francisco López, Jana Winderen…). He is part of the team of sound map of the Basque Country, soinumapa.net, he co-coordinates Hots! Radio, and is a co-editor of the mediateletipos.net platform.
The Arts of the Voice
third installment of the Voice Observatory
April 11th, 19:00 – at: Exploratorium Berlin, Mehringdamm 55, 10961 Berlin
Atemwende performance & degustation
with Ernesto Estrella/Miako Klein/Antonis Anissegos and Ursula Heinzelmann/Pepe Dayaw
April 13th, 19:00 – at: Errant Bodies Project Space, Kollwitzstrasse 97, 10435 Berlin
Vermeintlich / Listen – don’t speak / The Sound of Global Prayers
installations, performance and talk by Mario Asef, Antje Vowinckel and Kathrin Wildner
April 11th, 2015 – 19:00
Atemwende / Breathturn
a nomadic journey – performance Ernesto Estrella, Miako Klein, Antonis Anissegos
Atemwende degustation – Degustation
mother tongue Ursula Heinzelmann & Pepe Dayaw
Like Ishmael at the start of Moby Dick, we have felt the urge to take sail and get to the sea. But quite soon our reverie stumbled onto the contours of land: an obtrusive archipelago attracted us. And there commenced a nomadic journey through a rugged labyrinth of cultures that we encounter as we proceed. Breathturn brings Ernesto Estrella (voice, guitar), Miako Klein (recorder, violin) and Antonis Anissegos (piano) into an exploration that interweaves language, sound, sense, and cultural traditions. Breath drives this journey, but breathing is not enough. A change, an interruption in the rhythm of breath is needed. As we approach the shore, or enter a new house, or look into a void that confronts us, or attend the glance that received us, an Atemwende is needed. We wake up to the smell of oranges. And we are shattered. For that smell does not bring the memory of the orange. But of the unrehearsed emotional constellation of the fingers that pressed the peel, the stains, the talks around those segments, the impossibility of sharing them, the dryness of the land, or the sound of the tree bark as the back leans on it and feels the branches, now lighter from its stolen fruit. This is the procedure of our journey. Among these constellations of the present we have learned our breath.
Atemwende degustation – Degustation
Ursula Heinzelmann und Pepe Dayaw als Tandem erfühlen eine Performance, ertasten eine Unterhaltung zur Beziehung zwischen unserer Zunge und dem Entstehen unserer Sprache. Dieses subtile Erkosten nimmt Geschehnisse vorweg, die der Geschmack im Leben unserer stimmlichen Stimmen auslösen kann.
Ursula Heinzelmann & Pepe Dayaw
Ursula Heinzelmann and Pepe Dayaw will accompany us in this voyage with a subtle degustation of wine and cheese that will bring us to dig into our own cultural depths and nuances. As we move and listen, we feel how much the tongue detects, how much the nose takes in, and how the links between taste and language, smell and memory, are reinvented.
April 13th, 2015 – 19:00
Vermeintlich / Listen – don’t speak / The Sound of Global Prayers
installations, performance and talk by Mario Asef, Antje Vowinckel and Kathrin Wildner
“Vermeintlich” (assumed) investigates linguistic constructions of cognition. Referencing Lacan’s and Wittgenstein’s conceptions of reality, language is used as an instrument that determines the interdependency of subject-context, but which also makes the reconfiguring of this relationship possible.
Listen – don’t speak
Vinyl performance with language courses
They should have brought us all together, but what happened was the opposite: On old language courses on tape or vinyl perfect native speakers made long pauses so that the listeners could imitate them. Most of us did this a couple of times, then gave up, but kept listening highly concentrated to the vinyl crackles in the pauses. And didn’t they seem to become longer and longer? Time transformed into space. Seconds turned into lightyears, vinyl grooves turned into orbits while the speakers seemed to withdraw from eachother more and more. Deep in the universe you still hear a gentle „Hallo“ but nobody answers. This image is also a metaphor for the general effect of the old courses. They wanted to bring all nations together, but in real life and in real countries we felt inhibited and didn’t even dare to open our mouths. Nevertheless there is another to approach an international understanding in these courses – based on music. A music full of peculiar melodies and rhythm, that no one intended, a music that only arose as a side effect of the didactic pathos and the effort of to speak clearly and perfectly. The connected exhibition will include language books, vinyls, covers and two avistomats, a German gadget from the 50ies with paper rolls.
The Sound of Global Prayers – Research on urban soundscapes
Urban spaces are composed by contradictions, transformations, and processes of negotiation. Listening to the sound, its performative aspects and its effects on urban spaces enables us to understand and experience the city. In this lecture I will present examples on how sonic religious expressions and manifestations are shaping urban soundscapes and how urban space is produced.
with Exhibition – Ausstellung / April 4th – April 13th, 2015
14:00 – 18:00 daily – täglich
presenting – präsentiert:
Vermeintlich sound installation by – Klanginstallation von Mario Asef
Listen – don’t speak installation by – Installation von Antje Vowinckel
A project by Ernesto Estrella, Brandon LaBelle, Mario Asef from Errant Bodies Project Space Berlin
With kind support of Bezirkamt Pankow, Initiative für Neue Musik, Exploratorium Berlin und Berliner Gesellschaft für Neue Musik e.V
PENNA WRITING TEST
Tomomi Adachi / Alessandra EramoAusstellung gefundener oder gestohlener Zeichnungen und Performance /
Exhibition of found or stolen drawings and performanceThursday, March 12th, 2015
door opens at – Türen öffnen ab 19:0020:00 Penna Writing Test
Performance Tomomi Adachi / Alessandra Eramo21:00 The Voice of Knowledge
Panel discussion – Podiumsdiskusion (all participants – alle Teilnehmer)Exhibition – Ausstellung / March 8th, – March 14th, 2015
14:00 – 18:00 daily – täglichErrant Bodies
http://www.errantbodies.orgZwischen 2013 und 2014 sammelten die beiden Künstler eine Unmenge von Testzettel für Stifte in Schreibwarenhandlungen auf der ganzen Welt, fasziniert von der Vielfalt an gezeichneten Linien und geschriebenen Wörtern, welchen Klang und Bewegung inne zu wohnen scheint. Es sind „objet trouvés“ oder „objet volés“ welche als Grafische Partitur und Visuelle Poesie rekontextualisiert werden. Diese Blätter repräsentieren anonyme Spuren unbewussten/bewussten Schreibens. Sie werden in erster Linie dafür genutzt um Stifte zu testen, doch die unterschiedlichen Abbildungen darauf können öffentliche/private Mitteilungen enthalten, manche Fälle zeigen auch einen tiefe emotionalen Ausdruck. Diese Abbildungen sind oftmals Annäherungen an Buchstaben, „Prä-Buchstaben“. Sie können auch gelesen werden als Zeichen, welche sich auf einen linguistischen und kulturellen Hintergrund beziehen. In jedem Land können charakteristische Aspekte gefunden werden, welche die gesellschaftlich konstruierte Körperlichkeit des Schreibens widerspiegelt.Tomomi Adachi und Alessandra Eramo zeigen eine Installation von mehreren hundert Blättern und interpretieren eine Auswahl davon in einer poetisch-vokalen Performance.
Between 2013 and 2014 the artists have collected a huge amount of pen test writing paper sheets in stationary shops all around the world, fascinated by the variety of drawn lines and written words, as if they would contain sound and movement. They are objets trouvés or objets volés that are recontextualized as graphic score and visual poetry. These paper sheets represent anonymous traces of unconscious/conscious writing. Their use is just for testing pens and most of the time people don’t intend to express anything at all. But the diverse figures express sometimes public/private statements and in some cases they even reveal deep emotions. They are approximations of letters, like “pre-letter”, furthermore they can be read as signs that refer to a linguistic and cultural background. There can be found some characteristic aspects in each country which reflect the socially constructed physicality of writing.
Tomomi Adachi and Alessandra Eramo show an installation of several hundreds of paper sheets and they create a musical and poetical vocal performance interpreting a selection of drawings.
van der Putten / Galarreta
Invisible ArchitectureWednesday, March 4th – 20:00hBetween 1 and 5 March Christian Galarreta and Janneke van der Putten come to Berlin in a collaboration between the platforms Errant Bodies and Ausland. In Errant Bodies they will work in continuation of their project ‘Invisible Architecture’ and explore the acoustics of the project space, to see its possibilities for a performance. Previously they explored the acoustic architecture of a tower through its surrounding sounds, subtle acoustic phenomena and the human voice. Resonances and reverberations were emphasized and prolonged through vocal interaction with sound space and unconventional microphone techniques. The compositions have been published in a LP with silkscreened cover (edition of 300) by label Aloardi in July 2014.Errant Bodies
www.errantbodies.orgIn collaboration with Ausland /
Ausland concert with the artists
Thursday 5 March – 21:00h-
Chrs Galarreta (Peru). Very active in the South American experimental scene since 1995. The sublime and the uncertainty are present in his actions. He is mostly interested in the exploration of life and its acoustics to create immersive live experiences, experimental songs and des-compositions, hacking the human perception of space-time as a form of civil disobedience and social auto-reorganization. Galarreta comes from an autodidact formation. In 2013 he developed his independent projects at the Institute of Sonology in The Hague. Today he lives between Peru, France and The Netherlands. His work has taken him to make concerts, installations, performances, lectures and workshops in Latin America and Europe such as Academy of Fine Arts, (Vienna, 2013 & 2014), Plateforme Intermédia / La Fabrique (Nantes, 2011) and Aural – Sound Art Festival (México D.F., 2009). Galarreta is founder and member of the independent label and association Aloardi (since 1998) and of bands like Sajjra (current solo experimental-song project), DiosMeHaViolado, Evamuss (as soloist), Azucena Kantrix (with Wilder Gonzales), Tica (with Fabiola Vasquez) in Peru, Miasma (with Sergio Sanchez T.) in Mexico, 50 Otages (with Mathieu Finisterre, Bernard Bruit and Julien Ottavi) in France among others. He collaborated with artists, labels and collectives around the world such as Gabriel Castillo, Zbigniew Karkowski, Jorge Castro (Cornucopia), Leo Sabatto (Armenia), Janneke van der Putten, Pablo Reche, Anton Mobin, David Kraapoola, Dave Phillips, Jorge Haro, Sub Rosa, Microbio Records, APO33, Platoniq, Sonic Art Networks, Manuel Rocha Iturbide, Tsonami, Sebastian Ortiz and Ignacio Rus.
ww.sajjra.netJanneke van der Putten presented her site-specific installations, voice-based performances, sound pieces, participatory events and workshops at among others: ‘Recreation Ground’, W139, Amsterdam (2013), ‘Urban Modes of Listening’, Tuned City, Qo2, Brussels (2013), ‘Handmade Homegrown 8’, Theater Dakota, The Hague, NL (2013); ‘Three Artists Walk Into A Bar…’, de Appel, Amsterdam (2012) and ‘NMElindo Radio’, São Paulo Art Biennial, São Paulo, BR (2012). Upcoming is a solo exhibition of her work in TENT, Rotterdam (summer 2015). Recently her collaboration with composer / musician Christian Galarreta was presented at among others ‘Inner Space’, Extrapool, Nijmegen, NL (2014), Tsonami Festival, Valparaiso, CHI (2014) and Asimtria Festival, Arequipa, PE (2015). Between November 2014 and February 2015 van der Putten took part of the residency programs of Collective Aloardi and Cultural Association Tupac, based in Lima, Peru. In the winter of 2013-2014 van der Putten was artist in residence at the Castle, Centre International d’Art et du Paysage at the Île de Vassivière in France, where she continued her work and daily practice ‘All Begins With A: inspired by the SUNRISE’. Janneke’s researches have been supported by the Mondriaan Fund. Previously van der Putten worked with different people, from a hunter to a sonic marine engineer, as well as with choirs and colleagues, a.o. with Gabriëlle Barros Martins and Rory Pilgrim. In 2013 Janneke did the vocals of Siavash Akhlaghi’s electroacoustic work for Wave Field Synthesis, which premiered at the Institute of Sonology. She holds a Master of Music from the Master Artistic Research at the Royal Conservatory & Royal Art Academy, The Hague (2013), a Bachelor degree with Honors from the Textile department at the Gerrit Rietveld Academie in Amsterdam (2009), studied at the San Francisco Art Institute in 2008 and learned from the Indian classical Dhrupad singing by Amelia Cuni and Marianne Svasek since 2009. Janneke van der Putten is born in Amsterdam and currently lives in Rotterdam, The Netherlands.
Rishin Singh in residence at Errant Bodies
Over the last four months Rishin Singh has attempted to read all the printed material published by Errant Bodies Press. The following series of performances and installations address the questions: What do words about sound sound like? and Is it possible to build an environment out of words about the built environment?
mimesis and passim (with Xavier Lopez)
Two multimedia performances focussing on text, and emphasising the creative aspect of reading.
26/2 & 27/2
a twitcher’s guide to prenzlauer berg (with Anna Bernhardt) and errata (from the words in trees series)
A zine and an installation which uses language as a navigational device.
Imaginary architecture//temporary space created by the possibility of sound//wear warm clothing.
THE METHODOLOGY FOR THIS RESIDENCY HAS BEEN STOLEN, IN PART, FROM MANFRED WERDER
Rishin Singh (born 1985, Kuala Lumpur) uses the trombone, text, scores, video and performance to make music that is simultaneously plain and sensual. Some collaborators include Clare Cooper (Sydney), Ur 1st Luv (Sydney), Goh Lee Kwang (Kuala Lumpur), Martijn Tellinga (Beijing), Jason Kahn (Zürich), and in Berlin – Konzert Minimal, Johnny Chang, Catherine Lamb, Bryan Eubanks, Héctor Rey. He lives in Berlin.
The Collective Tongue
isik . knutsdotterPerformance & Presentation: Saturday, February 14h – 19:00hA travelling collection exploring the idea that our surroundings both internally and externally are sculpted through oral (the mouth) and aural (the ear) muscles. This concept is used to consider place, collectivity and materiality with the potential to produce a new language of informal architecture.The project is developed at Errant Bodies through a series of public dreaming sessions. These sessions use sound and objects, working with the idea that sound and material have the ability to transcend the present, allowing the conscious and unconscious minds to merge. These public dreaming sessions will sculpt a social imaginary (The Collective Tongue) and be used to produce the final performance and presentation event.Errant Bodies
isik . knutsdotter / Louise Sayarer and Eva Vikstrom
Their work together reflects upon the role of participation in dialogues about social architecture and urban change constructing new forms of interdisciplinary working, whilst providing a practical social context for research. Together embarking on ideas and experiments regarding the notion of public, language and wider uses of creativity. These subjects have been explored in public spaces and with a series of responses using video, performance, installation, drawing, sculpture and sound.More information:
(inaugural event)Performance by Christian Kesten
mother tongue Aperitivo by Ursula Heinzelmann and Pepe Dayaw
Discussion with participants & project creatorsFriday, February 6th – 19:00Errant Bodies
www.errantbodies.orgErrant Bodies Ortungen
As a vocalist Christian Kesten has developed a repertoire of extended vocal techniques, focusing on noise and subtle nuances of timbres, working with the voice in a rather instrumental way.
______ ortungen is a fixed piece which gets its actual adaptation and its actual title according to the place of performance: errant bodies project space ortungen.mother tongue
Ursula Heinzelmann and Pepe Dayaw tandem to create a performance/conversation on the relation of palate and the construction of language. This subtle degustation previews what could happen when taste intervenes in the lives of our voices.The Voice Observatory / a new program of activities on the topic of voice, organized by Mario Asef, Ernesto Estrella, and Brandon LaBelle
https://thevoiceobservatory.wordpress.com/-Errant Bodies – sound art space / focusing on experimental work and research on sound through exhibition, performance, fieldwork, and text. The project space is organized by a working group consisting of Berlin-based artists, academics, curators, and writers. For more information contact: firstname.lastname@example.org / Errant Bodies – sound art space / is generously supported by the Pankow Bezirksamt and INM Berlin.
The Inner Acoustic
Opening: January 24th – 19:00
Exhibition: January 25th – February 1st, 2015 (14:00 – 18:00 daily)
Acoustics is mostly understood in terms of architectural spaces and materiality external to the body. Yet what of the resonances and echoes that transverse the inner rooms of the body? The inner voices and sounding memories that impart so much influence onto our perceptions and understandings? If acoustics assists in orienting ourselves spatially, the inner soundings are equally complex events by which we navigate the world.
Bringing together international artists focused on the inner voice, vocal resonance, and the poetics of the sounded, the exhibition gives important attention to the voice as an audible threshold between inner and outer.
The exhibition is presented as part of Transmediale and CTM Vorspiel program 2015.
AABBCCDV (redux Berlin)Exhibition by Erik SmithOpening: Thursday, December 18, 2014 – 7 pm
Exhibition dates: Friday, December 19, 2014 – Wednesday, January 7, 2015, by appointment
Special presentation by invited guest Jeremiah Day on Wednesday, January 7, 2015 – 8 pmErrant Bodies
www.errantbodies.orgAABBCCDV (redux Berlin) reprises a project created and first presented in Miami, FL (US) in 2012. Serving as the point of departure for the work was the then imminent demolition of a building that was home to several Miami arts organizations, among them DimensionsVariable (DV), an artist-run exhibition venue. DV had used the building for a number of years both for exhibitions and as an artist studio, but were ultimately forced to vacate the premises in 2012 to make way for new development. The demolition of the structure can be read as a marker for urban transformations in general, a process that is as much about speculative growth and renewal as it is one of negation and fragmentation. Such forces are also presently at work remaking Berlin, where rampant commercial and private development is quickly supplanting the city’s identity as an inexpensive haven for artist-run exhibition spaces and their practices, begging the question: What next?Erik Smith is an American artist who has lived and worked in Berlin since 2003. In recent years, his work has revolved around a firsthand investigation of the built environment, involving the exploration, documentation and salvaging of various urban sites, and taking the form of installations, provisional excavations, or other modes of intervention. Exhibitions include Skulpturenpark_Berlin_Zentrum, DimensionsVariable, Miami (US), SculptureCenter, NYC, de Appel Center for Contemporary Art, Amsterdam (NL), Arsenal, Lausanne (CH). www.eriksmith.de.
STADT KLANG TEXT – Urban Sound Projects
Exhibition series: #5 of 5Jacob Kierkegaard : Durch die Wand (2014)
Georg Klein : Ramallah Tours (2009)Exhibition: December 10th – 14th, 2014, 16:00 – 20:00h
Discussion: Thursday, December 11th, 19h – with Prof. Kathrin Wildner and the artistsErrant Bodies
http://errantbodies.org/StadtKlangText/stadtklangtext_5.htmlTwo projects dealing with the same topic – the border between Israel and Palestine – but in very different ways. In the discussion evening the urban ethnologist Prof. Kathrin Wildner will ask the artists about their concepts, the methods of realization, and the effectiveness of sound art in public space.-The exhibition and discussion series Stadt als Klangtext introduces ten artistic positions by sound artists working with urban space. The series aims to consider how auditory experience and sonic work may operate to create a sense of civic engagement, spaces of mutuality, and forms of interruption onto the urban scene. Each exhibition consists of two artists presenting one work, and integrates a discussion evening led by an invited academic and open to the public.
We are pleased to celebrate the release of:
The School of Public Life
by Fred Dewey
Please join us for drinks, and a reading by the author
Wednesday, November 26th, 2014 – 8pm
Drawing on two decades of interventions in politics and culture, Fred Dewey’s The School of Public Life records the author’s efforts to revive and rethink public space from Los Angeles to Berlin and beyond. Drawing on manifestoes, lectures, letters, and experimental texts, the book chronicles one person’s efforts to secure a space for public reality, culture, appearance, and power. From helping to found neighborhood councils in Los Angeles to directing Beyond Baroque, a public space for poetry, art, sound work, publishing, and debate, featuring discussions of the 1992 L.A. riots, Black Mountain College, and the Montgomery Bus Boycott, Dewey recounts a lived experience of self-government face to face with the rise of manufactured reality and an unknown political history. How can we answer the falsehoods of economics, parties, and a new slavery of constructed powerlessness? Working from the examples of Hannah Arendt, poet Charles Olson, writer John Berger, Rosa Parks, Martin Luther King, Jr., and others, Dewey’s account of life experiences and thinking, public gesture proposes a new kind of school, one powerful enough to address all our conditions – a school for the people and their life.
The School of Public Life is the fourth issue of the new book series Doormats published by Errant Bodies Press. The series aims at contributing to the now, addressing issues that are present and that demand presence.
Fred Dewey is a writer, teacher, editor/publisher, curator, and co-founder of the Neighborhood Councils Movement in Los Angeles. He directed Beyond Baroque Literary / Arts Center in Los Angeles from 1995-2010 and has edited, published, and designed twenty books and anthologies, featuring work by Ammiel Alcalay, Simone Forti, Jean-Luc Godard, Daniel Berrigan, Abdellatif Laabi, Jack Hirschman, Christoph Draeger, Ed Ruscha, Diane di Prima, and more. His writing has appeared in the anthologies Architecture of Fear (Princeton Architecture), Most Art Sucks (Smart Art), Cork Caucus, and in magazines and newspapers such as the Neighborhood Councils Movement Newsletter, the Journal of Aesthetics & Protest, New Statesman, LA Weekly, LA Times, Metropolis, Venice Beachhead, LA Forum for Architecture & Urban Design, and Coagula. Dewey has performed with the dancers and artists Simone Forti and Jeremiah Day at London’s ICA, New York’s Ludlow 38, and Berlin’s Errant Bodies. He teaches in Berlin and in the graduate fine art program at ArtCenter College of Design in Pasadena, California.