Talk wednesday June 19th from 19:00 on

APA-B e.V. – The Association for Performance Art in Berlin e.V. invites to a Meet & Greet with Sam Trubridge, the director of The Performance Arcade in Wellington, New Zealand.

Sam Trubridge will introduce the festival and be available for Q&A. Moderation will be done by Teena Lange.
The next festival will be held from Feb 20 – March 1, 2020. The Call for Proposals is open and ongoing, the deadline is August 2, 2019.

This Meet & Greet event is free and no registration is required.
There will be drinks on donation and snacks.
English will be the main language.
All are welcome.

+++
The Performance Arcade is a unique event. It puts experimental performance disciplines (from theatre, dance, performance art, live art, installation, design, sonic art, media art, public intervention, social sculpture, etc) into a highly visible public space on Wellington Waterfront. We use shipping containers, scaffolding, and street graphics to create a multi-layered spatial framework for works selected from around the world. Sometimes works use the shipping container as a gallery/stage space, whilst other works travel through/into the city and waterfront environment. Between 60-90,000 people encounter the event every year.

As a research project the focus is on breaking the usual frames of reference for performance (gallery, theatre, screen) and investigating a more volatile relationship with the city and the passing public that is not guided by the disciplinary routines of familiar spaces. Its location on Wellington Waterfront also explores interests in the sea / coast / ocean as a space of performance, using the shipping container as a symbol for global commerce, migration, and crisis.

The website includes archives of all works presented over the past 9 years: www.theperformancearcade.com

Berlin-based artists such as Samin Son, Janine Eisenächer, Steffi Weismann, and Hans Kellet (Princessin Hans) have already participated.

+++
Sam Trubridge is a solo performance artist, performance designer, curator, and theatre director based in Aotearoa NZ. He has shown work across Europe, Asia, Oceania, and the Americas, and has been published and exhibited in various international contexts, including the Prague Quadrennial and World Stage Design. Between 2005-2009 Sam coordinated Massey University’s cutting edge Performance Design Degree with Toi Whakaari, NZ Drama School.

This year he graduated with a PhD in creative practice from Massey University. Sam conceived, directed, and curated The Performance Arcade: a new performance festival on Wellington’s waterfront that has run annually since 2011. The success of this concept continues to support the growth of experimental performance practises in NZ and abroad and has received various awards, citations and commissions.

www.samtrubridge.com
www.theperformancearcade.com
www.apa-b.org
https://errantsound.net

Supported by Goethe-Institut, Wellington.

Facebook event: https://www.facebook.com/events/624016744765140/

A group show as part of the Open Studio Day at Runge20

For the ocasion of the Open Studio Day at Runge20, Katja Pudor invited more than 50 artists to present works on paper at Errant Sound.
The exhibition will stay for two weeks and will be combined with a finissage concert by four artists from the Errant Sound group.
We’ll be glad to see you there!

Group exhibition as part of the Open Studio Day at Runge20 
1. of June 2019 I 3 – 10 pm
Errant Sound Rungestr. 20, 10179 Berlin

with works by Mario Asef I Michael Bause I Matthias Beckmann I Anke Becker I Betty Böhm I Ursula Boehmer I Theo Boettger I Antje Blumenstein I Claudia Busching I DAG I Dana Engfer I Heike :Gallmeier I Kathrin Ganser I Anne Gathmann I Jürgen Grewe I Inken Hilgenfeld I Ruth Hommelsheim I Birgit Hölmer I Franziska Hünig I Kanako Ishii I Gabriella Klein I Pauline Kraneis I Aliki Krikidi I Chus Lopez Vidal I Katharina Lüdicke I Teresa Mazuela I Frank Maier I Oliver Möst I Ulrike Mohr I Maria & Natalia Petschatnikov I Inken Reinert I Cornelia Renz I Andrea van Reimersdahl I Elisabeth Sonneck I Sophia Schama I Fiene Scharp I Ursula Scherrer I Susanne Schirdewahn I Claudia Schoemig I Richard Schütz I Michael Schultze I Anton Schwarzbach I Nada Sebestyen I Sarah Straßmann I Betty Stürmer I Max Sudhues I Attilio Tono I Dorit Trebeljahr I Andrea Übelacker I Ute Vauk-Ogawa I Véronique Verdet I Anke Völk I Maria Volokhova I Nicole Wendel I Markus Willeke I Gloria Zein I Majla Zeneli I Oliver Zwink I Sandra Zuanovic

Live Programm Saturday 1. of June 2019

3 – 7 pm Screening of video works by Oliver Möst, Maria & Natalia Petschatnikov, a.o.
7 pm  Roberta Busechian: Gate Golden recordings (The Gold of San Francisco) I sound peformance8 pm Steffi Weismann: Recall Service  I video performance 
8:30 pm  Betty Stürmer: Postkartenkleid I intervention 
9 pm Bob Rutman, Hilla Steinert: Gähnen und Stöhnen (yawn and moan) I performance  the Screening will be continued between and after the performances

Exhibition:  June 2. – 14.  2019 opening hours: tuesday – friday 3 – 7pm
Finissage Event: Friday 14. June 2019 – 8 pm
audiovisual session & paper music by Roberta Busechian, Janine Eisenächer, Laura Mello, Steffi Weismann

Video art_audiovisual performances_sonifications a program curated by Roberta Busechian

18.05 / ////////////////////////////////////////////////
Doors 7:00 pm, sonification start 7:30
9:00 pm: live field recordings performance by Nicola Zolin
Daniele Costa, Simone Rossi, Nicola Zolin (live sonification)
„The weaning of goods; a mechanical affair“

A film that captures the mechanisms and timing regulating rhythms within port terminals. To find out and become aware of these places dedicated to the primordial transfer of good, and to reflect on the permeability of its ontological status, in relation to man,society and retail trade.

ABOUT THE AUDIOVISUAL SCREENINGS PROGRAM
What does it mean to explore sound art as an audiovisual practice? Today there are too many facades of the audio-visual phenomenon, it’s aesthetic, theoretical and epistemological reception to speak about audiovisual works as relation between sound and image. That’s why the AUDIOVISUAL SCREENINGS SERIES at Errant Sounds wants to look at audiovisuality as a medium of sound art, seeking to work out the possibilieties of video screening as a sonic experience, focusing on how an audio-visual input could influence our reception of the content and how our habitual multi-sensory perception could be trained to focus on the acoustic facade of a (video) storytelling. To ground this research both on a theoretical and practical level, emphasizing it through works by international sound artists working in different ways within sound for video, there will be not a fixed
presenation format. The AUDIOVISUAL SCREENINGS PROGRAM will interact with screening possibilities in the space, developing different settings and listening modalities depending on the presenting artist and the
presented work distinguishing between i.e documentary work, video art or interactive installation. Being aware of the interdisciplinary field of sound and visual streaming, it will be necessary to ground the presentation methods on fields connotative for sound art as acoustics and sound studies, musicology, media studies, interactive media, sound design, geography, urban planning ad studies, anthropology. The screening will be installed and/or performed with different streaming technologies and technical equipment, putting the focus on the presentation and fruition during the single events by the invited public. For this reason the program includes talks by the presenting artists and Errant Sound artists, external contributors, as audience itself as active partecipant of every event of the program.

The program will be divided in five parts
Stream I: Field AUDIOVISUAL
Stream II: Performed AUDIOVISUAL
Stream III: Installed AUDIOVISUAL
Stream IV: Mediated AUDIOVISUAL
Stream V: Interactive AUDIOVISUAL
A program curated by Roberta Busechian aka (T)Raum

Sound performance, Friday May 10, 2019, 7-10pm, performance at 8pm

Join us this Friday at Errant Sound for a sound performance by artist Erik Smith. The performance is part of his Berlin-specific project Titanic, one of three distinct installations currently on view in his exhibition Displacements.

The project, inspired by the salvaging of a wooden shelf from an underground bunker in Berlin- Mitte, draws on sculptural and sonic means to allude to the site’s eerily associative, contrasting phases: a theater in the nineteenth-century known for its performances of Jacques Offenbach’s Orpheus in the Underworld, a neighborhood air-raid bunker during WW2, and today the newly opened four-star Titanic hotel.

For the performance, Smith uses a series of six specially modified turntables to live mix Orpheus in the Underworld 78s with techno and electronica records at radically reduced speeds, rendering these contrasting genres unfamiliar. This breakdown in the music produces a droning, multilayered atmosphere, recalling detonations and other abstract soundscapes.

Come early for an informal, artist-led tour of the exhibition; the performance will take place at 8pm and run for approximately 45 min. 

Facebook event

https://www.facebook.com/events/430571557757736/

Erik Smith

Opening: April 24, 7– 10pm
Exhibition: April 25 – May 15, 2019
Opening Times: Thurs–Sat, 3–7pm and by appointment

Displacements presents selected works by Berlin-based, American artist Erik Smith that highlight his use of sound and other sculptural means to evoke the atmospherics and dynamics of place. Featured at Errant Sound’s new space is a survey of projects developed over the past several years from various contexts including Berlin, Miami, and most recently Denver, US. Smith’s site-focused practice evolves out of the physical exploring, salvaging and/or excavating of urban contexts and often employs found objects and sound as points of departure for reflecting on the spatial, cultural, and historical dimensions of given locations.

Included in the exhibition is a selection of audio and sculptural works from three different projects/contexts focusing on Smith’s interest in transitional sites as agglomerations of competing uses and meanings. His most-recent project Ghosts (2018) revolves around the visual and acoustic trope of the flicker in evoking the precarious status of a gallery building and former 1950s-era auto repair shop located in a long-depressed neighborhood of Denver, CO. For Titanic (2016-), inspired by the salvaging of a wooden shelf from a bunker in Berlin-Mitte, a series of modified turntables creates a dark, acoustic atmosphere that alludes to the site’s eerily associative, contrasting phases: a German theater famed for performances of Jacques Offenbach’s Orpheus in the Underworld in the nineteenth century; a sprawling underground bunker during WW2; and the recently opened 4-star Titanic hotel today. And finally AABBCCDV (2012), which centers on the demolition of an artist-run space in Miami FL, recorded and produced as a 12” record edition and shown together with reconfigured sculpture-artifacts taken from the building prior to its destruction.

The exhibition presents the projects not in their entireties, but stages core elements of each alongside one another, thus providing a trans-contextual overview of Smith’s use of sound in relationship to his sculptural aesthetic.  The title Displacements refers to the artistic process of disturbing, translating, or abstracting source materials to resonate on symbolic and metaphorical levels, creating in viewers an altered awareness of the underlying conditions that define place. It also alludes to the processes of urban change and redevelopment, where the physical transformation of the built environment entails a shifting or transposition of urban identities. With Smith, sound and sculpture intermix to produce a kind of hybrid atmospheric space for contemplating the complex status of transitional sites characterized by impermanence and slippage.

Erik Smith (b. Boston US, lives and works in Berlin) studied visual art and comparative literature in the US and Italy before moving to Berlin, Germany in 2003. Solo exhibitions include Counterpath, Denver; FRAGMENTA/Valletta 2018, Malta; Locus Solus, de Appel Contemporary Arts Centre, Amsterdam NL; Skulpturenpark Berlin_Zentrum, Berlin; DimensionsVariable, Miami FL; Kapinos Galerie, Berlin; Rena Bransten Gallery, San Francisco, CA. His work has also been shown in numerous group exhibitions internationally including SculptureCenter, LIC, NY; BBB centre d’art, Toulouse, FR; Arsenic, Lausanne CH; Pierogi, Leipzig; Kunstpunkt, Berlin. www.eriksmith.de

***

This exhibition is the first in a series of exhibitions presented under the heading Visual Approach to Sound, which aims to reflect on sound from the perspective of visual art. For this series, visual artists are invited to present works that are based on the forms and methods of visual art but which are also defined by a central acoustic aspect.

Visual Approach to Sound is conceived and organized by Mario Asef for Errant Sound Berlin.

Facebook event

Reopening Errant Sound : : Friday, March 29th 2019 , 7 pm

We are very happy to announce our new project space in Rungestraße 20, Berlin-Mitte! It is funded by the Arbeitsraumprogramm (ARP) of the Senate Department for Culture and Europe of Berlin and supported by the Mietergenossenschaft rs20 e.G.

You’re cordially invited to our opening party
with an exhibition and performance by:
Janine Eisenächer & Steffi Weismann
READY MAKING #1
On the object-based know-how and auditory knowledge in sound performances

Opening: Friday March 29th 2019 I 7pm
Performance by Janine Eisenächer and Steffi Weismann : 8.30 pm

Exhibition/Listening Space, Performance, Lecture
29.3. – 10.4.2019

Opening Hours Exhibition/Listening Space: Sat 30.3. , Mon 1.4. , Thu 4.4. I Mon 8.4. , always from 4 to 8 pm 

Finissage / Closing: Wednesday April 10th 2019 , 7 pm
Exhibition/Listening Space: 7–8 pm
Programme: „Sound-based Actions: A Type of Practice. A Type of Philosophy. A Type of Analysis. A Type of Art. I Lecture by Prof. Dr. Elena Ungeheuer (University of Würzburg) I 8 pm
    „Titel später“ I Performance by Sven-Åke Johansson I 8.30 pm
    „Ritournelle“ I Performance by Anaϊs Héraud-Louisadat I 8.50 pm
The lecture and performances will be followed by a discussion.

For celebrating the reopening of Errant Sound in its new space in Rungestraße 20, the performance and sound artists Janine Eisenächer and Steffi Weismann will present their new collaboration READY MAKING #1. Within this artistic research-project, Eisenächer and Weismann invite their guests to collectively reflect upon the relevance of sounds and noises that come into being through sound-based actions (“klangpraktische Handlungen“, Elena Ungeheuer) with objects and materials in performances from the fields of Performance Art, Sound Art, and Experimental Music. Furthermore, they investigate the object-based know-how and auditory knowledge in sound performances: What do we learn and experience from the encounter with everyday objects when playfully exploring their acoustic potential and listening to them? What agency do these things and material sounds entail? How do we perceive time and space while making sounds with objects?
After their first variation of this project, which both artists realised under the title READYMADE GRÜÜSCHSCHSCH ——- at Gallery TART in Zurich in the beginning of this year, they now turn the new space of Errant Sound into a listening space. Visitors are invited to playfully explore and performatively interact with diverse objects based on specific instructions for making actions and listening to them. In their performance during the exhibition opening, Eisenächer and Weismann condense their collected experiences and knowledges with selected materials. In addition to that, a video work will be part of the exhibition that presents excerpts of interviews with Livio Beyeler, Janine Eisenächer, Anja Ibsch, Markus Gössi, Pascale Grau, Irene Maag, Muda Mathis, Barbara Naegelin, Boris Nieslony, Lara Russi, Andrea Saemann and Steffi Weismann, who remember sound-generating actions in performances.
READY MAKING #1 focuses on non-amplified sounds and noises that come into being through object-based sonic practices in the field of Performance Art. In the course of further events in this performance and lecture series, amplified sounds and noises as well as sound performances from the fields of Sound Art and Experimental Music will be discussed.

We are happy to annonce that – after leaving Kollwitzstr. in December – we got a new home for our project space !

Close to S-Jannowitzbrücke and U-Heinrich-Heinrich-Str. we will have a nice (and bigger) space in the center of Berlin at river Spree (behind TRESOR / EWERK in Köpenicker Str.). The space is permanently supported by the Senat of Berlin (project space program, initiated by ‘Netzwerk freier Berliner Projekträume und -initiativen‘) and Errant Sound was chosen by an international jury among 14 contestants.

Klanginstallation vom 22.-23. Januar 2019
19 bis 12 Uhr im Rahmen des CTM-Vorspiels
Errant Sound Galerie im ACUD Studio, Veteranenstr. 21, 10119 Berlin

„Les jours je songe, les nuits je rêve“
Der Schlaf ist für den Menschen unverzichtbar und hat im Alltag sowie kulturell für ihn große Bedeutung. In der frühen Kulturgeschichte setzte bereits die intensive Beschäftigung mit Schlafphänomenen ein. Sowohl in der Bildenden Kunst als auch in Musik und Lyrik zeugen zahlreiche künstlerische Arbeiten davon. Unter kulturgeschichtlichem Aspekt wurde der Schlaf zeitweise von der kapitalistischen Gesellschaft abgewertet, da sie ihn als Zeit betrachtete, die für produktive und gewinnbringende Aktionen verloren war. In der Kunst hingegen wurde gerade der Schlaf ebenso wie der Zustand der Muße und des Tagträumens genutzt, um für innere Bilder, Emotionen und Gedankengänge empfänglich zu werden.
Über den Schlaf, der zumeist nachts stattfindet, steht der Mensch in Kontakt zu den planetarischen Abläufen von Tag und Nacht, die aus der Konstellation von Sonne und Erde resultieren. Schlaf als ein Stück Natur ist inzwischen Gegenstand der wissenschaftlichen Forschung geworden. In
Schlaflaboren und Apps werden auf neurowissenschaftlicher Basis Körperfunktionen und die Dauer von Schlafphasen gemessen und ausgewertet.

Die Klanginstallation „Les Jours je songe, les nuits je rêve“ von Jutta Ravenna hingegen konzipiert Schlaf als künstlerische Aktion. Sie nimmt dem Schlaf gegenüber eine eigene Position ein, versteht ihn als Reaktion auf das gesellschaftsbedingte Vermeiden von Muße, Tagträumen und Traum und will diesem die verdiente Aufmerksamkeit einräumen.

Ort: ACUD Studio
Zeitplan:
Dienstag, 22. Januar 2019
19:00 UHR
ERÖFFNUNG DER KLANGINSTALLATION
Jutta Ravenna „Les jours je songe, les nuits je rêve“
KONZERTPROGRAMM
20:00 UHR
Manos Tsangaris, “Nachtstück mit Fenster”, 1994
Delia Derbyshire – “Falling”, “Colors”, “Sea” and “Land” from The Dreams (1964)
Jutta Ravenna mit Marco Maria, Improvisation mit Leslie Speakers

Videos
Andy Warhol, “Sleep” , 1964, Video
John Lennon und Yoko Ono, “Bed-In”, 1968 , Video
23:00 UHR
nächtlicher Audiowalk im nahen Umfeld des ACUD
23:00 – 10:00 UHR
Sonic Sleep Event: (Voranmeldung erforderlich)
10:00 UHR
Frühstück und Reflexion
Mittwoch, 23. Januar 2019
12:00 – 14:00 UHR
Stehenlassen der Relikte der Aktion „Les jours je songe, les nuits je rêve“

Idee und Konzeption: Jutta Ravenna

FASE 8:
Augmented Spatiality
Non-Site (A conversation)

Participants:
Rocío Calvo
Juan Cantizzani
Marina Hervás
Martyna Poznańska

Curator:
María Andueza

3-7 December: Internal work of the group of participants

Public opening: 7 December, 19:00h
Gallery hours: 8, 14, 15 December, 15:00 – 18:00h

Sound is crucial in the definition of public space today. Through listening, sound stimulates participation in the territories we inhabit. Even if listening is unconscious for many, sound is still affecting our bodies and influencing our experience of a public space. By appearing and occupying unexpectedly a space, sound is able to create one of the temporary autonomous zones that Hakim Bey coined. This way sound appears as a tangible presence in the space that evades the structures as they are usually conceived and contests the temporality and spatiality of the public. In these situations, considering sound beyond hermeneutic listening brings into consideration sound as substance for community and communication.

Non-Site (A conversation) is a collective situation dealing with the public space in relation to the exhibition device. During the first week a group made up by Rocío Calvo, Juan Cantizzani, Marina Hervás and Martyna Poznańska will explore the displacement of the concept of “public” in between the gallery of Errant Sound and the territory of Berlin.

Following the words by Robert Smithson, the proposal is conceived as “a non-trip to a site from a Non-site”. The work-in-progress during the week will consider and jointly explore, through sound interventions and documentation as living matter, the ways of appearing in and occupying out the urban and the exhibition space. Non-Site (A conversation) will be thus built up in the gallery out of the transition from the individual to the common and the round-trip paths between private and public conditions.

https://www.fasefest.org

Doing sounds with things #1
Lecture and Sound Performance by Janine Eisenächer

Tuesday, November 27 / 19:00

In her new research performance-series Doing sounds with things, Janine Eisenächer explores the possibilities of co-existence and co-creation, of being-with and inter-being with objects and materials through sound and touch. She understands the present materials not as functional objects but as things and matter we live-with, that have their own agency and presence, their specific material qualities, stories and resistances. In Doing sounds with things #1, Eisenächer engages in real encounters, in a care-taking and maybe even conflicting co-llaboration and community-building by carrying out matter-based, sonic-spatial practices with them. In experimentally and playfully creating acoustic „string figures“, with reference to Donna J. Haraway’s book Staying with the Trouble, Eisenächer underlines the generally multi- and inter-sensual and -sensory process of human (inter-)action and perception, including one’s desires and imaginations, and particularly highlights the relevance of sonic-tactile and listening practices, experiences and knowledge in art and everyday life for our world-making and our inter-being and being-with the world.

Parts of this lecture and sound performance have been developed together with cultural scientist Michael A. Conrad (University of Zurich) and were presented in the joint lecture Hearing co-existence: On the spatiality of sound and acoustic desires in objective encounters at the conference Sounding out the Space in Dublin, 2017.

Janine Eisenächer is a performance artist, curator, researcher and writer, based in Berlin. She creates solo and group performances on the subjects of work and collaboration, including related topics such as gender, identity, (post-)colonialism, care and solidarity. Within her performance practice she often works with objects and materials (things), with which she creates sonic spaces through body-generated and material-based sounds, discussing the inter-relations between performer and non-human agents as well as how we perceive and relate to the things that surround us and that we live-with. She presented her works in various Performance Art festivals and events across Europe, in Northern America and Aotearoa New Zealand. In addition to her performance practice, Eisenächer is a part of the artistic-curatorial group Inverse Institution that develops collective practices of institutional critique, and of the political research-group wwwz (wie wollen wir zusammenarbeiten? – how do we want to work together?) with which she researches forms of collaboration in freelance cultural production. She is a board member of the self-organized art space Flutgraben e.V. in Berlin. Eisenächer holds a Magistra Artium degree in Theatre Studies and Comparative Literature (Free University of Berlin) and wrote her thesis on material-based sounds in Performance Art. She currently researches on Performance Art-related sonic and action-based knowledge(s).