sound art project space berlin
Last week of the exhibition at Alte Münze and Errant Sound
www.dystopie-festival.net
Wed Oct. 28th 6pm: Curatorial Guide by G.Klein + L.Mello, Alte Münze
Thu Oct. 29th 5pm: Performance by LauraL: Dor de Arvore, Spreeufer
Fri Oct. 30th 7:30pm: Short performance Stefanie Egedy, Alte Münze
Sat Oct. 31th 7:30pm: Short performance Stefanie Egedy, Alte Münze
Sat+Sun 3-6pm: German-Brazilian Symposium, Errant Sound + online
Sun Nov. 1st 7pm: Finissage performance Mario de Vega, Alte Münze
Collaboration, Listening, Acoustic Justice
October 24, 2020 / 19:00 – 22:00
ONLINE VIA ZOOM
Registration: lm@dystopie-festival.net
With presentations by:
Brandon LaBelle, On the question of listening
Achim Lengerer/Scriptings, Models for Rehearsing the Script
The experiences of hearing and being heard contribute greatly to the work of recognition and mutuality, supporting the building of community as well as the struggles by which to resituate identity. Through a range of acoustic gestures and practices, from disruptive signals to vibrant ecologies of togetherness, hearing and being heard become scenes or processes of reorientation, affinity, escape, and solidarity. The issue of social acoustics is put forward as a research framework in order to map out the ways in which sound and listening lend to social, cultural, and political experiences and imaginaries. In addition, the topic of acoustic justice is raised, suggesting that the movement of sound through a given environment carries questions of social equality and the power of aurality. How might we think through understandings of agency from a sonic perspective? Are there particular listening practices that may impact onto scenes of injustice? What types of acoustic arrangements might we make in support of a diversity of voices and orientations?
The seminar brings together participating artists to reflect upon sounding and hearing, collaboration and listening, and how these operate within their own practices. This includes questions of musicality and (social) composition, radio practices and sonic archiving, voice and embodiment.
The second in a series of three seminars planned at Errant Sound. Upcoming seminars include: November 15 with Julia Tieke, introduced and moderated by Brandon LaBelle.
Social Acoustics is an artistic, collaborative research project based at the Departments of Fine Art and Music, at the University of Bergen. It focuses on the potentialities of sound’s relational, material, and artistic qualities, and questions in what ways listening contributes to social and political imaginaries.
http://socialacoustics.net/
https://www.communitiesinmovement.net/
Brandon LaBelle is an artist, writer and theorist working with sound culture, voice, and questions of agency. He develops and presents artistic projects and performances within a range of international contexts, often working collaboratively and in public. Works include “The Other Citizen”, Club Transmediale, Berlin (2019), “The Autonomous Odyssey” (with Octavio Camargo), Kunsthall 3,14 Bergen (2018), “The Ungovernable”, Documenta 14, Athens (2017), “The Hobo Subject”, Gallery Forum, Zagreb (2016), and “The Living School”, South London Gallery (2016). He is the author of The Other Citizen (2020), Sonic Agency (2018), Lexicon of the Mouth (2014), Diary of an Imaginary Egyptian (2012), Acoustic Territories (2010; 2019), and Background Noise (2006; 2015). He lives in Berlin and is Professor in new media at the The Art Academy, University of Bergen.
Artist and editor Achim Lengerer works on questions of political speech and language that he addresses in his live performances, filmic soundtracks or spatializes within installations and printed matter. Lengerer was educated at the Academy for Film and TV, FAMU, Prague, the STÄDELSCHULE, Frankfurt and the SLADE School of Fine Arts, London and completed his post-graduate studies at the Jan-van-Eyck-Academie, Maastricht, NL, in 2008. Lengerer founded different collaborative projects such as freitagsküche in Frankfurt a. M., and voiceoverhead, with artist colleague Dani Gal (ISR). Since 2009 Lengerer runs the Berlin based showroom, production- and publishing house Scriptings. Artists, writers, filmmakers, performers as well as activists are invited – all of which are working with the formats of script and text within their processes of critical production. Lengerer is currently finishing his Ph.D. at Goldsmiths, University of London, on the format of the collective rehearsal as an artistic and political model for spaces of social negotiation(s).
at Alte Münze – Spreeufer – Errant Sound
Installations – Performances – Symposium / 24 Projects – 40 Artists
The DYSTOPIA Festival brings together international sound art positions in an exhibition that deals with dystopian moments in both our times and an imagined future.
Dystopian Hopes
In the past years, dystopias have immensely gained in significance, not only in fiction. Signs of dystopian scenarios are likewise marking the real world, whether in authoritarian states or in the threat posed by the ever more drastic climate change – and not least with the Corona pandemic. With Brazil as this year’s guest country, the DYSTOPIE sound art festival takes on a special dimension. In view of the recent political upheaval, proposing a public platform to Brazilian sound artists has gained in importance. For it is precisely the fictional, artistic dystopia that bears the seed of utopia.
Dystopian Listening
Topias – spaces and places – have always played a central role in sound art. For the DYSTOPIE festival, topias are morphed: newly created, condensed, rubbed, superimposed, and destroyed. We wish to open a window on a radical dystopian listening experience in a political time where talking to each other would often seem to be a utopian practice – manipulated by fake news and enclosed in echo rooms. 22 audiovisual installations and performances will enlighten many perspectives, negotiate, and give a sound to core questions of dystopian thinking. These will then be discussed in the concluding symposium „Listening as a tool to blow out the bubble“.
Events
Opening
Fr 16.10. – 16-20 Uhr 19:30 – Short performance
Weekends:
Sa 17.10. – 16:30: Live Audio Walk
Sa 17.10. – 18:00: Vokalperformance
Sun 18.10. – 14:00: Workshop Presentation
Alte Münze Haus 3, Basement (Entrance next to Café The Greens) Mühlendamm / Am Krögel 2, 10179 Berlin
Spreeufer btw. Mühlendammbrücke and Jannowitzbrücke/Rungestr.
Errant Sound Rungestraße 20, 10179 Berlin
Please respect social distancing and wear a face mask (mandatory fromthe age of 6). The restrictions can change. > Festival hygiene concept.
Entry Fee
Exhibition Alte Münze: 10€ (incl. festival catalog)(possibly performance/concert inclusive)
Online registration and time-slot ticket > ONLINE-TICKET
Exhibition Errant Sound, installations and events in public space :
free entry
Due to Corona the number of visitors is limited:
• Alte Münze Exhibition: 120 (40 per time-slot)
• Alte Münze Maschinenhalle (performance/concert): 40
• Public space: 10-40 (depending on event)
• Errant Sound Project Space: 15
• Curatorial guides: 20
Visit our website for more information. www.dystopie-festival.net
Follow us on Facebook and Instagram
With kind support by:
Seminar, Collaboration, Listening, Acoustic Justice
September 28, 2020 / 19:00 – 22:00
Errant Sound, Rungestraße 20, 10179 Berlin
Brandon LaBelle, On Acoustic Justice
Zorka Wollny, Let’s make noise!
The experiences of hearing and being heard contribute greatly to the work of recognition and mutuality, supporting the building of community as well as the struggles by which to resituate identity. Through a range of acoustic gestures and practices, from disruptive signals to vibrant ecologies of togetherness, hearing and being heard become scenes or processes of reorientation, affinity, escape, and solidarity. The issue of social acoustics is put forward as a research framework in order to map out the ways in which sound and listening lend to social, cultural, and political experiences and imaginaries. In addition, the topic of acoustic justice is raised, suggesting that the movement of sound through a given environment carries questions of social equality and the power of aurality. How might we think through understandings of agency from a sonic perspective? Are there particular listening practices that may impact onto scenes of injustice? What types of acoustic arrangements might we make in support of a diversity of voices and orientations?
The seminar brings together participating artists to reflect upon sounding and hearing, collaboration and listening, and how these operate within their own practices. This includes questions of musicality and (social) composition, radio practices and sonic archiving, voice and embodiment.
The first in a series of three seminars planned at Errant Sound. Upcoming seminars include: October 24 with Achim Lengerer, and November 22 with Julia Tieke, introduced and moderated by Brandon LaBelle.
Social Acoustics is an artistic, collaborative research project based at the Departments of Fine Art and Music, at the University of Bergen. It focuses on the potentialities of sound’s relational, material, and artistic qualities, and questions in what ways listening contributes to social and political imaginaries.
http://socialacoustics.net/
https://www.communitiesinmovement.net/
Exhibition: 25. – 27. September 2020 4 – 8 pm
Opening on Friday between 5 – 9 pm
Errant Sound, Rungestr. 20, 10179 Berlin-Mitte
Core group: Andrei Cucu, Bengisu Çağlayan, Berk Asal, Çiğdem Üçüncü, Emre Birişmen, Julia Cremers, Melih Sarıgöl, Selda Asal, Steffi Weismann.
Participants: AFROTAK TV cyberNomads, Andrei Cucu, Birte Frey, Çiğdem Üçüncü, Didem Pekün, Emre Birişmen, Fatma Belkıs, Georg Klein, Julia Cremers, Işıl Eğrikavuk, İrem Tok, Lara Ögel, Leman S. Darıcıoğlu, Magalie Dougoud, Mert Akbal, Melih Sarıgöl, Nil Mutluer, Onur Ceritoğlu, Özgür Atlagan, Özlem Sarıyıldız, Pınar Tatlıkazan, Political Agender x BLM Fundraiser:Avrina Prabala-Joslin, Zselyke Tarnai, Jamie McGhee, Selda Asal, Steffi Weismann, Suat Can Beldek, Zeynep Kayan and more.
HisTV (Sense TV or Emotion TV) is a fictitious television station brought out by Apartment Project as an artistic collaboration. The collective was formed in 2016 as a reflex to the censorship and to political oppression which has settled like a fog over the freedom of expression in Turkey. Consisting of made-up TV programs, advertisements, music videos, news and public spotlights that are familiar to the mass media audiences, HisTV has been a creative and intellectual platform to search for further possibilities and ways of common reflection against authoritarianism worldwide. HisTV takes on an ironic approach by mocking the current state of the sided and non-objective media, disassembling and distorting their realites. The channel carries an open and collaborative process, allowing participants to team up and write, design, play, shoot and edit their programs on location before and over the course of the exhibition. The aim of the collective work is to figure new methodologies to communicate the severity of the situation and to find new forms of artistic and political expressions.
HisTV is reactivated on the occasion of AARC’s 2nd edition at Errant Sound.
AARC#2 — HisTV presents an engaging process-based exhibition, stimulating a critical discourse on suppression, racism and discrimination by inviting independent voices to its transmission program. To serve its purpose, the exhibition space turns into a studio, where artists and participants collectively produce video works to be broadcasted concurrently on multiple screens around the venue. Encouraging free speech and imagination, the project highlights the importance of nonalignment and diverseness in the communications industry and its crucial role when maneuvering against racism and xenophobia.
AARC (Artists Against Racism Collaborative) is a collective project conceived by Apartment Project and Errant Sound. The short form AARC refers to the word arc — arc as a bridge between artists of different fields and cultural backgrounds. At the same time, the title phonetically evokes the “AARGGH!” interjection, conveying common feelings of despair, fear, and exhaustion among the affected communities. The collectively formulated initiative develops individual and/or joint responses to such emotions and unveils everyday practices of racism. Through this collaboration, the two institutions aim to create a mutual artistic conversation and develop new forms of solidarity. The first outcome of the collaboration was the exhibition titled AARC#1 — Tortu, held between 26-28 June 2020 at Errant Sound together with live presentations at Apartment Project.
Special thanks to the members of AARC for their support in the realization of this project.
Due to COVID-19 measures, we recommend making a reservation. Please kindly write to: contact@errantsound.net
Exhibition / Sound Art
Opening: Friday, 28.08.2020, 7pm
Exhibition: 29.08. – 13.09.2020, Thursday – Sunday, 3pm – 7pm
Live-Performance: Saturday, 12.09.2020, 7pm
In an experimental sound performance with over 30 vintage tape-decks, Matthias Mayer will create a cacophonic „Symphony of a Present“.
Finissage: Sunday, 13.09.2020, 3pm
—
The works of Matthias Mayer deal with the interaction of music, visual arts and society. The exhibition idea for “Hardly in Sound” is based on works that interweave image, sound and narrative from certain social phenomena. At the same time, the use of analog technology creates a symbiosis of past, present and future by questioning established hearing and exploring its boundaries.
When masses of different music, noises and sounds are played and mixed together at the same time, a cacophonous sound is created that is perceived or received as rather sickly. But is this bias merely determined by decades of listening habits? What role do narratives, images and spatial situations play in this – what role do the intellect and psyche of the recipient play? Is there a dogma, a dictatorship of intact sounds? Who actually determines the character of sounds?
—
Matthias Mayer has been working as an artist since the early 1990s. His artistic work includes painting, sculptures, installations, videos, performances and photography. A frequent approach is to question social rules and circumstances against the background of pop culture. He is particularly interested in the interaction of visual art and music. Matthias Mayer has worked and exhibited internationally, among others as a participant of the ISCP in New York (1996/1997), as competition winner of the Museum for the History of St.Petersburg in Russia (1995) and as project participant of the Zendai Museum of Modern Art in Shanghai (2008). He received several project grants, among others from the Berlin Senate Chancellery for his project “Let the Rhythm Hit ‘Em” at Kunstraum Kreuzberg/Bethanien (2011) and for “Porte de Berlin” from Künstlerhaus Schloss Balmoral (2005). Since 2003 Matthias Mayer has been the director of the project space Spor Klübü in Wedding and has organized over 100 exhibitions there. In 2012 he founded the music project Sporty Jesus together with Jens Christian Madsen, where he is active as guitarist, singer and DJ.
for further informations:
https://www.facebook.com/events/961522247630331/
listen to “Mauerpark-Produktion” on Soundcloud:
Medienpartner:
Friday 10. July and Sunday 12. July 2020
Limited access. Please make a reservation for a time slot: info@readymaking.com tickets: 4€ – 8€
Burkhard Beins: Por Extended – performed with Michael Vorfeld (20 minutes, at 18:30 and 20:00)
Neo Hülcker & Stellan Veloce: Ear Action (1+1 performed by Neo Hülcker) – no tickets left!
Alvin Lucier: Opera with Objects – performed by Anne Wellmer (12 minutes at 19:05//20:35)
The series Ready Making – sound performances with things is curated by Janine Eisenächer and Steffi Weismann
READY MAKING is an event series and artistic research-project curated by Janine Eisenächer & Steffi Weismann. The title sets the art-historical concept of ‘Ready Mades’ – the found object (objet trouvé) in motion and into performance mode, focusing on the sonic dimension. The (composer-)performers enter into a tactile process with materials and objects, with their surfaces, forms and acoustic features. The second issue of the series is dedicated to the materiality of space and spatial listening in three different situations: indoors and outdoors, all without miking. http://readymaking.com/
showing / exhibition and live performance
26. – 28. June 2020
Exhibition Friday – Sunday 17-20h
at Errant Sound, Rungestr. 20, 10179 Berlin-Mitte
Live Presentations only Friday 20 – 22h
at Apartment Project, Hertzbergstr. 13, 12055 Berlin-Neukölln
AARC is an experimental artistic solidarity project conceived by Errant Sound and Apartment Project in Berlin. After the racist murders in Hanau, the two groups met to initiate a collaboration between the two project spaces – also as a political statement – by forming the”Artists Against Racism Collaborative (AARC)”.
The short form AARC refers to the word arc — arc as a bridge between artists of different fields and cultural backgrounds. At the same time, the title phonetically evokes the “AARGGH!” interjection, conveying common feelings of despair, fear and exhaustion among communities who are affected by racist attacks and/or exposed to subtle forms of racism. The collectively formulated voice develops individual and/or joint responses to such emotions and names and unveils everyday practices of racism. Through this collaboration, the two venues aim to create a mutual artistic conversation, facilitate a process of collaboration and develop new forms of solidarity.
TORTU is the Turkish word for “residue”. It describes a solid matter that isn’t able to blend into the liquid in which it accumulates, clouding it when stirred. TORTU is what leaves its sticky traces on the body, what penetrates into the flesh; it seals off the network of communications; paralyzes the cells: It dominates. The works shown under the title TORTU characterize the urgency to respond to the political and social issue of racism whose impact on everybody’s life cannot be ignored. Racism hangs there among us, unresolved and unbroken, clouding judgment, obstructing transparency and tainting social and political environments.
Since April about 15 artists were in a regular exchange. Some new collaborations emerged and will be presented in connection with existing works. The AARC-series will be continued this year in an open group.
AARC#1 — TORTU is a three-day exhibition at Errant Sound combined with an event with performances and presentations at Apartment Project.
Artists: Emre Birişmen, Andrei Cucu, Melih Sarıgöl & Laura Mello, Oliver Möst, Özlem Sarıyıldız & Bora Yediel, Çiğdem Üçüncü & Steffi Weismann
On Friday 26th the showing starts at Errant Sound at 5pm. After 7:30 pm we will move to the second location, Apartment Project. There we will attend the book presentation by Oliver Möst (8pm) and the soundperformance by Steffi Weismann (8:30pm). There are some places inside and more outside, view through window.
Due to limited access (Corona rules) we recommend to make a reservation (for Friday evening)
Please write to: contact@errantsound.net
Deadline 1st July 2020, 11:59 pm, CET
The Dystopia Festival brings diverse „sound artistic“ viewpoints together in an exhibition that deals with current dystopian moments, as well as those of an imagined future.
Dystopias have gained immense importance in recent years. Not only in fiction, but also in reality, the dystopian signals have been increasing, whether by authoritarian-led states, in threats posed by global Internet corporations, by drastic climate developments – or, most recently, by the corona pandemic. The dystopian always carries the germ of the utopian within it however, even if only as a warning to us not to let things go so far- as we have witnessed during the Corona period, when, for example, Venice’s canals became clear again, or, when the sky over Beijing became clear as well.
Following on from the premiere of the double edition Dystopie Berlin-Istanbul (2018/2019), our guest country this year will be Brazil. In addition to artists from Brazil, we invite sound artists from Europe to submit new or existing works that deal with the topic of “dystopia” in the broadest sense.
Artists living in Brasil will be invited for the festival directly. The open call is for sound artists living in the European region. Climate-friendly travel by train is preferable – if at all possible.
The festival wants to establish a sustainable cooperation with the Brazilian sound art scene and we hope to continue the Dystopie-Festival in Brazil in 2021. Selected works produced for Berlin 2020 will then be shown in Brazil.
How to apply
1. Fill in the online application form here
2. Send us a long CV and a portfolio with 3 of your recent works as PDF (Max. 10MB) to contact@dystopie-festival.net. Optional you can also send us a project description PDF (Max. 5MB).
Find more details visit: www.dystopie-festival.net
The festival is organized by Errant Sound e.V. and is kindly funded by Kulturstiftung des Bundes and Berliner Senatsverwaltung für Kultur und Europa.
Every week ES presents a different live streaming performance between
sound artists from Errant Sound and Errant Sound + external artists. The
programm involves live streaming performances, performative lectures
and live audiovisual events.
Organised by Roberta Busechian in collaboration with ES artists and guests.
You’ll find recordings of these events in our podcast.