STUDIO

    DEAD LADIES SHOW: MAY AYIM // ANNA FISCHER-DÜCKELMANN // THEDA BARA

    Tue 26.09 19:30 // PERFORMANCE, LECTURE // STUDIO
    DEAD LADIES SHOW: MAY AYIM // ANNA FISCHER-DÜCKELMANN // THEDA BARA

    The DEAD LADIES SHOW is a series of entertaining and inspiring presentations on women who achieved amazing things against all odds. Every two months, the show hosts three passionate cheerleaders of too-oft forgotten women, inviting its loyal audience into a sexy séance (of sorts) celebrating these impressive icons, their turbulent lives, and deathless legacies.
     
    Our 13th event showcases three such extraordinary ladies who pushed the boundaries of their times: a poet and Afro-German activist, a pioneering doctor who took a liberal view of female sexuality, and a silent movie star who wowed crowds in a lavish 1917 version of Cleopatra, now lost for all eternity. Our presenters are the award-winning German writer DAVID WAGNER, Dublin/Berlin-based columnist ALIX BERBER, and your beloved co-host KATY DERBYSHIRE. And of course our master of ceremonies, FLORIAN DUIJSENS, will ensure the evenings entertainment runs smoothly. So put on your glad rags and raise a glass with us in the ACUD STUDIO on 26 September, 8pm.
     
    Presented in a messy mixture of English and German. €5 or €3 reduced entry. Now generously supported by the Berliner Senat. Doors open 7:30 come on time to get a good seat!
     
    //
     
    ABOUT
     
    Launching our year of dead Berliners is MAY AYIM, who made our fine city her home in 1984. She was a founding member of the Initiative of Black People in Germany a year later, and published the groundbreaking book Showing Our Colors: Afro-German Women Speak Out soon afterwards. Ayim trained as a speech therapist and taught at university level, but shes remembered for her work on Afro-German history and her unmasking of racism and for her moving poetry which explores her own memory and identity and those of others.
     
    //
     
    ANNA FISCHER-DÜCKELMANN was one of the first women to study medicine, running a clinic for women and children in Dresden for many years. She wrote books on reforming womens clothing, womens sexuality, and gynecology, plus a popular illustrated guide to medicine for women. Keeping her maiden name after marriage, Fischer-Dückelmann championed both natural remedies and womens rights. Womens equality, she wrote, is the key to a new heavenly realm of love.
     
    //
     
    The silent movie actress THEDA BARA rose to become Fox Studios biggest star prior to the 1920s, often cast as a vamp. Yet she also played Shakespearean roles like Juliet and Cleopatra. In pre-code Hollywood, she was known for her skimpy costumes and early sex-symbol status. Criticized for her dark roles from gang moll to Princess Zara of the South Seas she responded: “I will continue doing vampires as long as people sin.” Although she made more than 40 silent films, very few of them have survived.
     
    //
     
    DI 26.9 // 19H30 // 3-5€
    ACUD STUDIO // LECTURE PERFORMANCE
    DEAD LADIES SHOW:
    MAY AYIM // ANNA FISCHER-DÜCKELMANN // THEDA BARA
    celebrating women who achieved amazing things against all odds
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    NINA HYNES RELEASE

    Fri 22.09 20:00 // CONCERT, RELEASE // STUDIO
    NINA HYNES RELEASE

    The brilliant songwriter and melody maker Nina Hynes from Dublin will play a solo show of mostly new material with friends as special musical guests
     
    //
     
    ABOUT
     
    NINA HYNES
    … has released 4 albums(Creation: 1999, Staros: 2002, Really Really Do: 2007 Goldmine: 2013) and various EPs. She is also a member of art-music collaborations A=Apple, Sending Letters to the Sea and A Generous Act. In July 2017, she has finished the soundtrack to ‘GLUE’, a feature film by artists Oisin Byrne and Gary Farrelly. Release TBC.
     
    At an early age, she toured with experimental composer Hector Zazou and collaborator Harold Budd. Nina has written songs for all her own releases as well as for other singers and projects including Jane Birkin and Melanie Gabriel on Strong Currents by Hector Zazou(2003).
     
    She has toured in America and Europe and has played many supports including Roxy Music, Terry Callier, Smog, Stereolab, Cat Power, Julee Cruise, David Gray, Glen Hansard, Damien Rice. In 2013, Nina launched the crowdfunded album Goldmine on her bandcamp page www.dancingsuns.bandcamp.com with limited release vinyl she sells at shows.
     
    In recent years, Nina has performed with many choirs including children and adults. She plays solo concerts every so often. She teaches music to kids. Nina has taken part in Art exhibitions with photographic images, sonic installations and soundtrack work.
     
    Nina has a 2 year diploma in sound engineering and music technology. She lives in Berlin with her Dancing Suns/Sending Letters to the Sea collaborator Fabien Leseure and their two children. // More Info

     
    //
     
    FR 22.9 // 20H // 8€
    ACUD STUDIO // RELEASE
    NINA HYNES
    the brilliant songwriter and melody maker from dublin will play a solo show of mostly new material with friends as special musical guests
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    KINGDOM OF FROGS - GEORGIAN VIDEO ART

    Thu 21.09 20:30 // SCREENING // STUDIO
    KINGDOM OF FROGS – GEORGIAN VIDEO ART

    Is Georgia’s capital Tbilisi a chessboard for the hidden elites or a kingdom of frogs? With an ironic symbolism, a very own humour, and some bitter seriousness, video artists from Georgia can tell you a lot about their country. Aleksi Soselia, Ana Chaduneli and Dilla are participants of Georgian Video Art, an exhibition and an open archive for contemporary video art from the country. The three artists will present a selection of own and other works from that ongoing video collection which are rarely shown outside Georgia. Afterwards there’ll be drinks and some sound impressions of hyper modernism and neo traditionalism.
     
    With works by Ana Chaduneli, Dilla, Mamuka Japharidze, Gegi Khaburzania, Aleksi Soselia, Wato Tsereteli a.o.
    In conversation with Sophie Jung
     
    Presented by Berlin Art Prize and CCA Tbilisi
     
    Language: English
     
    //
     
    DO 21.9 // 20H30 // FREE
    ACUD STUDIO // SCREENING
    BERLIN ART PRIZE PRESENTS
    KINGDOM OF FROGS
    video art from georgia selected and introduced by filmmaker aleksi solasia
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    SOUNDING IMAGES #9: EYE AND EAR CONTROL

    Tue 19.09 19:30 // SCREENING // STUDIO
    SOUNDING IMAGES #9: EYE AND EAR CONTROL

    Free jazz is frenetic, hypnotic, disorienting. At its very inception in the 1960s, it was a rallying cry for self-actualization and emancipation, not just from traditional cultural values and aesthetics, but from a repressive, racist and sexist social hierarchy. Although most closely associated with the burgeoning Afrocentric and Afrofuturist cultural arms of the US civil rights movement, the radical sounds and attitudes of the so-called New Thing would come to resonate far beyond its original context.
     
    In this installment of Sounding Images, New York Eye and Ear Control by Canadian film-maker Michael Snow will be screened in 16mm original, with an introduction by Zoë Harris, looking at avant-garde jazz in the 1960s and 70s and its representation in film, with special interest in the use of improvisation and deconstruction as radical formal and political operations in audio and/or visual practice.
     
    //
     
    ABOUT
     
    “New York Eye and Ear Control is ‘about’ what this is about. It was very carefully, I might say, (to get your sympathy) painfully composed. This could be
    as arbitrary
    as something
    found or bought
    or something
    done while high or done by someone else.” (Michael Snow)
     
    Michael Snow is a Canadian filmmaker, artist, and musician, considered one of the pioneers of North American experimental cinema and structuralist film in the 1960s. He is perhaps most celebrated for his works Wavelength (1967) and La région centrale (1971). But Snow’s commitment to an expanded artistic practice is best illustrated by New York Eye and Ear Control (1964), a film featuring a two-dimensional cutout feminine silhouette navigating “real” 3-D environments. Its soundtrack widely considered to be one of the seminal free jazz recordings. Snow had been active in the avant-garde jazz scene, primarily as a pianist, and the ensemble he initiated for the film is a veritable who’s who of luminaries: Albert Ayler, Don Cherry, Sunny Murray, Gary Peacock, Roswell Rudd, and John Tchicai. Even the “Walking Woman” figure featured on film is based on the likeness of another friend, jazz pianist Carla Bley.
     
    New York Eye and Ear Control
    1964, 34 min, 16 mm
     
    //
     
    ZOË HARRIS
    … (b. 1991, New York) is a Berlin-based freelance writer, editor, and archivist.
     
    //
     
    The series SOUNDING IMAGES focuses on different approaches to documenting and visualizing musical performances, scenes and movements as well as close collaborations between filmmakers and composers, including soundtracks. The aim of it is to open up a wide range of perspectives on the interrelation of music, experimental filmmaking, and video art, including issues regarding race, class, sexuality and gender. Invited guests will discuss selected works and a short introduction to each screening will provide background information, sometimes a Q&A will follow.
 
SOUNDING IMAGES is organized by Fiona McGovern. // Homepage
     
    //
     
    Foto: Courtesy of Michael Snow and LUX, London.
     
    //
     
    DI 19.9 // 19H30 // 4-6€
    ACUD STUDIO // SCREENING
    SOUNDING IMAGES #9: EYE AND EAR CONTROL
    free jazz on film with zoë harris
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    ONE STONE DROPS INTO TWO PONDS – THEY WERE ON THE VERGE OF A KIND OF CHANGE

    Thu 14.09 19:00 // OPENING // STUDIO
    ONE STONE DROPS INTO TWO PONDS – THEY WERE ON THE VERGE OF A KIND OF CHANGE

    With Amanda Elena Conrad, Beate Kaulitz, Romina Sylvia Achatz, Ramona Cidej, Anna Gien, Cristina Nyffeler, The Hum
     
    //
     
    ABOUT
     
    Space-directed entities run against each other, superimposing one over another, yet vary inescapably. Sculptural elements, images, sound and body form syndicates in unstable constellations. Texts and textiles circulating. Swooshing. A glance drifts by, and then slips away. Levels shift. I feel you, they say in their mind, and yet they mean the floor. Light falls uncertainly on this terrain.
     
    The studio is under suspicion of isolating the self from an outside – as well as being a place of common cause. In a fragile community, artists explore the Acud studio as an open field of an Unfinished. In ever-changing situations, the formats of installation, performance and lecture interfere with one another and they question their own contours. Corporeal phenomena disrupt boundary lines, test potentials of the transient and unravel the actuality of perceptual limits. Their unconditional cohesion is confidence in the certainty of instability. Together for themselves it is about nothing less than reality or – the impossibility of this. Not one but many.
     
    //
     
    Opening: Thursday 14 September 7 – 11 pm
    Fr, 15 to Sun 17 September, 1 pm to 11 pm, continuous performances
    Information, dates: https://onestonedrops.tumblr.com
    Closing: Sunday 17 September 6 pm with The Hum
     
    //
     
    Amanda Elena Conrad is a visual artists. The city scape and its inhabitants are often the sujet of her work. In her current research she has gathered traces and occurrences of instability. She is merging subtle and intimate portraits with the physical remnants of actions. Her work manifests itself as constellations of sculptural elements, video – and sound.
     
    Beate Kaulitz is dancer, builder and spiritual rationalist. The body as the place of hyper-relationality, transformation and battlefield of action is conducting her interest in the extension of human identity through the engagement with other, non-human bodies. She is a member of the research- and performance collective Under Construction based in Salzburg and initiator of Blue Fields of Red.
     
    Romina Sylvia Achatz is an author and performer. Her main interest is The Politics of the body. She recently returned from Tokyo, where she researched on The thought of the Outside in the dance of Ko Murobushi. On site she will give lectures and discuss the concept of The Outside with the audience.
     
    Ramona Cidej thinks in the areas of political philosophy, language philosophy and aesthetics, and is the author of lyrical texts. She is currently working on speech act theories, materialization processes, and resistance of bodies. In the studio, she will deal with the ‚Un’-saturated and the intervals of the ’In/Between’. How to feed the space, how will the space be fed?
     
    The author Anna Gien and the stage designer Cristina Nyffeler accompanied the development process. Christin Bolte is responsible for the conceptual framework. Special thanks to Mieke Bohl of Acud-Studio.
     
    //
     
    DE:
     
    Raumgeleitete Anwesenheiten laufen gegeneinander, überlagern sich und variieren. Skulpturale Elemente, Bilder, Sound und Körper bilden Syndikate in instabilen Konstellationen. Texte und Textilien zirkulieren, rauschend. Ebenen verschieben sich. I feel you, denken sie sich und meinen den Boden. Licht fällt verunsichert auf dieses Terrain.
     
    In einer fragilen Gemeinschaftlichkeit erforschen Künstlerinnen das Acud Studio als das offene Feld eines stets Unfertigen. In kontinuierlich neu formierenden Situationen verschränken sich die Formate Installation, Performance und Lecture und befragen ihre eigene Kontur. Körperbezogene Erscheinungsformen stören Grenzlinien, testen Überschreitungspotentiale und beleuchten den gegenwärtigen Status menschlicher Wahrnehmungsgrenzen. Ihr Zusammenhalt ist das Zutrauen in die Gewissheit des Instabilen. Gemeinsam für sich, geht es um nichts weniger als die Wirklichkeit – oder die Unmöglichkeit dieser. Not one but many.
     
    //
     
    Amanda Elena Conrad ist Bildende Künstlerin. Die urbane Raum und seine Bewohner sind Mittelpunkt ihrer Arbeit. Gegenwärtig sammelt sie Spuren und Vorkommnisse des Instabilen. Sie verschmilzt subtile und intime Porträts mit materiellen Überbleibseln alltäglicher Handlungen. Ihr Werk manifestiert sich als Konstellationen von skulpturalen Elementen, Video und Sound.
     
    Beate Kaulitz ist Tänzerin, Handwerkerin und spirituelle Rationalistin. Der Körper als Ort der Hyperrelationalität, Transformation und Austragungsstelle aller Handlungen leitet ihr Interesse an der Erweiterung menschlicher Identität durch die Auseinandersetzung mit anderen, nicht-menschlichen Körpern. Sie ist Mitglied des Forschungs- und Performancekollektivs Under Construction in Salzburg und Initiatorin von Blue Fields of Red.
     
    Romina Sylvia Achatz ist Autorin und Performerin. Ihr Hauptinteresse gilt der Politik des Körpers. Sie ist vor kurzem aus Tokio zurückgekehrt, wo sie über The thought of the Outside in the dance of Ko Murobushi forschte. Vor Ort wird sie Lectures halten und mit dem Publikum das Konzept von The Outside diskutieren.
     
    Ramona Cidej denkt in Gebieten der politischen Philosophie, Sprachphilosophie und Ästhetik und ist Verfasserin von lyrischen Textfragmenten. Aktuell arbeitet sie zu Sprechakttheorien, Materialisierungsprozessen und Widerständigkeit/en von Körpern. Vor Ort wird sie sich mit dem ‚Un‘-gesättigten und den Intervallen des Da/Zwischen beschäftigen. How to feed the space, how will the space be fed?
     
    Die Autorin Anna Gien und die Bühnenbildnerin Cristina Nyffeler haben den Entstehungsprozess mit begleitet. Christin Bolte verantwortet die konzeptuelle Rahmung. Mit herzlichen Dank an Mieke Bohl vom Acud-Studio.
     
    //
     
    DO 14.9. // 19-23H
    ACUD STUDIO // OPENING
    ONE STONE DROPS INTO TWO PONDS – THEY WERE ON THE VERGE OF A KIND OF CHANGE
    AMANDA ELENA CONRAD // BEATE KAULITZ // ROMINA SYLVIA ACHATZ // RAMONA CIDEJ // ANNA GIEN // CHRISTINA NYFFELER // THE HUM
    opening hours: FR 15.9. – SO 17.9, 13–23H
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    LIVIA RITA

    Fri 08.09 21:00 // CONCERT, PERFORMANCE // STUDIO
    LIVIA RITA

    Livia Rita & artists present the avant-garde concert of her forthcoming debut album “Rewild”
     
     
    //
     
    ABOUT
     
    LIVIA RITA
    … has developed her own eclectic musical style together with composer and producer Tom McLuckie drawing on a wide range of influences and genres spanning electronic, pop, experimental, classical and new wave styles. She subverts the listeners with each song, as wild, brutal textures meet vulnerable, otherworldly melodies in adventurous and emotional ways.
     
    Livia Rita explores more avant-garde ways of performing her synthesiser drenched music through a strong visual identity; formed of bespoke costumes, theatrical staging and stylised movement created by herself; realised by dancers. Together, it collides into a 4D explosion of art; a surreal live music video that straddles fantasy and reality, capable of intoxicating audiences with the exploration of love, freedom, dreams and progressive thinking. The audience is lured into Livias mind, and is taken on a journey to gain ownership over the future. This work was developed at the Barbican in London and in Switzerland. // FacebookInstagram
     

     
    //
     
    FR 8.9 // 21H // 6-8€
    ACUD STUDIO // CONCERT+LIVE ART PERFORMANCE
    LIVIA RITA + ARTISTS
    present the avant-garde concert of her forthcoming debut album “Rewild”
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    BAR GELD

    Thu 24.08 20:00 // INTERACTIVE PERFORMANCE // STUDIO
    BAR GELD

    An immersive experience about the end of money
     
    //
     
     
    It’s 2037. We are celebrating the 15-year-anniversary of the day the Universal Standard Rations got introduced. Money was abandoned after a global Flash crash of 2022 liberated us of all of our debts and as the Automatization-of-everything became ubiquitous.
     
    Bar Geld is the only place in Berlin where you can still use real money, like back in the good ol’ days. A meeting point and a safe space for all enthusiasts of monetary transactions, high risk investments, prediction markets, gambling, and in the centre of it, an opportunity to mine Geldcoin© with the only resource that can never be taken away from humans – our breath.
     
    To get your secret set of instructions to the speakeasy, grab your ticket (€6) on eventbrite (http://bit.ly/2v71NH4). Limited tickets at the door.
     
    Once you’re at the venue, ask for the doctor’s office.
     
    Join us for Bar Geld, an immersive experience, party, and collaborative show of the students of Designing Hypotheticals at the School of Machines, Making, and Make-Believe, which for over three years has been exploring the interactions between machines and humans through art, technology, and creativity.
     
    Let the magic spark, dress up like it’s 2037, and dive into a possible future we might be heading towards.
     
    //
     
    MI 24.8 // 20-24H // 6€
    ACUD STUDIO // INTERACTIVE PERFORMANCE
    BAR GELD
    an immersive experience about the end of money
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    BACKYARD SUMMER X SOUNDING IMAGES: C. SPENCER YEH

    Wed 02.08 19:00 // SCREENING, TALK // STUDIO
    BACKYARD SUMMER X SOUNDING IMAGES: C. SPENCER YEH

    For their second backyard event Sounding Images will screen C. Spencer Yeh’s video work 2002 (2015) with an introduction by the artist.
     
    //
     
    2002
    … is a “concert film” that collects together footage of approximately forty bands videotaped by artist C. Spencer Yeh during the year 2002 across the continental USA, including Deerhoof, Animal Collective, Sightings, Sudden Infant, Cock ESP, Double Leopards, Caroliner Rainbow, Comets on Fire, and more. Acting as a survey, tribute, and foreshadowing of the contemporary American musical underground, 2002 captures not only the artists, but the audiences, spaces, and networks that remain incredibly formative and influential over a decade later.
     
    A handful of the segments were originally posted to Yeh’s personal website, before the coming of YouTube and other media-sharing outlets. The average duration of the edits were kept short due to the storage and bandwidth considerations of that time – a strategy carried over in revisiting the footage years later. In a style similar to Yeh’s Hair Police: 01-02, the accustomed musical documentary talking heads, voiceover meditations, and evocative b-roll were eschewed in favor of a more observational “vérité” approach. A loose narrative was already found in the sequencing of these short glimpses during the span of a year – audience members one moment are then found to be the artists on stage in the next. Some venues iconic in their moment are now long gone, while others were revived in recent times, activating a new history.
     
    2002
    2015, 60 min, digital video
     
    //
     
    C. SPENCER YEH
    … is recognized for his interdisciplinary activities and collaborations as an artist and composer, as well as his music project Burning Star Core. Recent presentations of work include “Modern Mondays” at MoMA, “The Companion” at the Liverpool Biennial, “Synth Nights” at The Kitchen, “The Daily Show” at Bureau NYC, “Great Tricks From Your Future” at D-CAF in Cairo Egypt, “In Tones From Light to Dark” at Performa 13, “Excursus IV” at the ICA Philadelphia, Borderline Festival in Athens Greece, Kinomuzeum at Museum of Modern Art in Warsaw Poland, LAMPO at the Renaissance Society Chicago IL, All Ears in Oslo Norway, Kunsthall Stavanger in Norway, the Pérez Art Museum in Miami FL, the Contemporary Arts Museum Houston TX, and a Jerome Foundation Commission from Roulette Intermedium. Yeh also collaborated with Triple Canopy for their contribution to the Whitney Biennial in 2014.
     
    Recent recordings include “Solo Voice I-X” published by Primary Information, “Wake Up Awesome,” a collaboration with Okkyung Lee and Lasse Marhaug published by Software Recording Co., and “Transitions” published by DeStijl under the CS Yeh moniker. A new recording by New Monuments, his trio with Ben Hall and Don Dietrich is forthcoming on Bocian.
     
    Yeh also volunteers as a programmer and trailer editor for Spectacle Theater, a microcinema in Brooklyn NY. His video works are distributed by Electronic Arts Intermix. He is also a contributing editor to BOMB magazine, as well as contributing to publications such as The Third Rail and Personal Best. // Homepage
     
    //
     
    The series SOUNDING IMAGES focuses on different approaches to documenting and visualizing musical performances, scenes and movements as well as close collaborations between filmmakers and composers, including soundtracks. The aim of it is to open up a wide range of perspectives on the interrelation of music, experimental filmmaking, and video art, including issues regarding race, class, sexuality and gender. Invited guests will discuss selected works and a short introduction to each screening will provide background information, sometimes a Q&A will follow.
     
    SOUNDING IMAGES is organized by Fiona McGovern. // Homepage
     
    //
     
    BACKYARD SUMMER
    Every Wednesday throughout the summer, we invite you to our backyard to cool down with music, food, drinks and friends. Summer sounds from DJ’s and performances in the courtyard, plus live sets in the club, a special summer drinks menu and soul food from Glory Box Spicy Soulfood.
     
    Spend the early evening hours and welcome the best part of the week with us!
     
    ACUD BACKYARD SUMMER 2017
     
    //
     
    MI 2.8 // 19-23H // 4-6€
    ACUD COURTYARD // SCREENING+TALK
    BACKYARD SUMMER X SOUNDING IMAGES: C. SPENCER YEH
    screening of the concert film 2002 (2015) with an introduction by the artist
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    MIWON RECORD RELEASE

    Sat 22.07 21:00 // CONCERT, RELEASE // STUDIO
    MIWON RECORD RELEASE

    Miwon präsentiert sein neues Album „Jigsawtooth“, das jüngst auf dem Elektroniklabel n5MD erschienen ist.
     
    Visuals: telematique und u-matic.
    DJs: Barbara Hallama + Multipara (Lux Nigra)
     
    //
     
    ABOUT
     
    MIWON
    … (alias Hendrik Kröz) verbindet Ambient-Texturen, Glitches, treibende Beats und Melodien auf seine eigene Weise. Seine Musik verwischt die Grenzen zwischen Pop, Techno und cineastischen Elementen. Nach seinem Underground-Hit „Brother Mole“ (als Remix von John Tejada auf Andrew Weatheralls Fabric-Mixtape vertreten) verfeinerte Miwon seinen Sound weiter und veröffentlichte zwei hochgelobte Alben auf dem legendären Electronica-Label City Centre Offices. 2017 meldet er sich mit seinem dritten Album „Jigsawtooth“ zurück, das auf dem kalifornischen Label n5MD erschienen ist. Hendrik Kröz ist Gründungsmitglied des spektakulären Gitarrenensembles Feedbackorchester und eine Hälfte des Duos Cushion Caroms. // Homepage
     

     
    //
     
    U-MATIC + TELEMATIQUE
    Sven Gareis | telematique und Ute Härting | u-matic sind visuelle Künstler und Motiondesigner aus Berlin, die an Projekten, wie Live Video Performances, interaktiven Lichtinstallationen und Videoinstallationen zusammen arbeiten. Seit 1998 haben sie sich mit ihrem subtilen, technisch versierten und minimalistischen Ansatz zu visueller Gestaltung einen Namen gemacht. Die Arbeitsweise ist vom experimentellen Ansatz geprägt. Hierfür entwickeln u-matic und telematique immer neue Softwarewerkzeuge. // u-matictelematique
     
    //
     
    SA 22.7 // 21H // 2€
    ACUD STUDIO // A/V PERFORMANCE/RECORD RELEASE
    MIWON
    VISUALS: TELEMATIQUE + U-MATIC
    DJS: BARBARA HALLAMA // MULTIPARA
    pop, techno and cinematic elements shaking hands
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    ÄSTHETIKEN DES SPEKULATIVEN

    Fri 07.07 9:30 // SYMPOSIUM // STUDIO
    ÄSTHETIKEN DES SPEKULATIVEN

    Spekulation ist ein riskantes Unterfangen. Als Wette auf unverfügbare Zukünfte, kommende Gegenwarten oder alternative Vergangenheiten ist sie geprägt vom Nicht- Wissen, auf das sie sich ausrichtet und von dem sie ihren Ausgang nimmt. Während Ökonomie und Zukunftsforschung dem Nicht-Wissen mit Strategien des Risikomanagements begegnen, sind es vor allem die Künste, die in ihrer konstitutiven Offenheit Möglichkeitsräume jenseits von Erfahrung und prognostischem Wert aufrufen. Als ästhetische Gegen-Laboratorien vermögen sie in der Fiktion gleichermaßen plausible und widersprüchliche Szenarien zu testen, Heterochronien zu erproben und andere Körper zu denken. Kunst bedeutet insofern sich dem Ungewissen auszusetzen – also dem, was man (noch) nicht wissen, worüber man jedoch spekulieren kann.
     
    Das Symposium fragt, welches andere Wissen die spekulativen Verfahren der Kunst freilegen. Wie wird Künftiges, Virtuelles oder Utopisches vorstellbar? Und wie lassen sich vor diesem Hintergrund Kategorien wie künstlerische Produktion, ästhetische Erfahrung oder der Wert des Kunstwerks neu bestimmen? // Homepage
     
    //
     
    SCHEDULE
     
    9H30
    Anmeldung, Kaffee
     
    //
     
    10H
    Begrüßung, Einführung durch Barbara Gronau, Kathrin Busch,Georg Dickmann, Maja Figge, Felix Laubscher
     
    //
     
    10H30
    Ludger Schwarte: Das Werden der Kunst
    Moderation: Kathrin Busch
     
    Der Vortrag geht von der spezifischen zeitlichen Verfasstheit künstlerischer Praxis aus, um zu zeigen, dass es unzureichend wäre, eine Kunstphilosophie nur auf die Analyse paradigmatischer einzelner Kunstwerke oder auch eines vollständigen Atlasses aller existierenden Kunstwerke zu stützen. Vielmehr muss sie spekulativ über jede zufällig ästhetische Erfahrung hinausgelangen zu einem tieferen Verständnis des Wesens künstlerischer Tätigkeit, ihrer Negationen und Neuausrichtungen, ihres Wandels. Ein solches Verständnis des Werdens der Kunst erlaubt es, jüngere Theorien gegenwärtiger Kunstproduktion in den Blick zu nehmen und zu kritisieren. Was kennzeichnet die zeitgenössische Kunst im Unterschied zur modernen Kunst? Die Vermutung liegt nahe, dass die zeitgenössische Kunst mit ihren Eigenschaften, mit ihrem politischen Projekt, mit ihren Theorien, auch (nur) eine Epoche künstlerischer Entwicklung darstellt; und nun womöglich zu Ende geht. Wie erklärt sich, dass das, was “Kunstwerk” und “künstlerische Tätigkeit” heißt, solchen radikalen historischen Umbrüchen unterworfen ist? Inwiefern ist es die spezifische zeitliche Struktur zeitgenössischer Kunstwerke, aufgrund derer sie unzureichend bzw. verwerflich erscheinen? Welche Anforderungen lassen sich für eine Kunst formulieren, die die zeitgenössische Kunst ablöst? Welche Bedeutung kommt philosophischer Reflexion über eine erst noch im Werden begriffene Kunst zu?
     
    LUDGER SCHWARTE
    … ist Professor für Philosophie an der Kunstakademie Düsseldorf. Promotion und Habilitation in Philosophie an der Freien Universität Berlin. Er war Assistenzprofessor an der Universität Basel und anschließend Dozent für Theorie des Ästhetischen an der Zürcher Hochschule der Künste. Gastdozenturen führten ihn an die Universität Paris 8 und an das GACVS (Washington), an die Maison des Sciences de l‘Homme (Paris), an die Universität Abidjan (Republik Cote d’Ivoire), an die Columbia University (New York) und an die EHESS (Paris). Zahlreiche Publikationen zu Ästhetik, politischer Philosophie und Wissenschaftsgeschichte, u.a. Philosophie der Architektur. München: W. Fink 2009; Vom Urteilen. Gesetzlosigkeit, Geschmack, Gerechtigkeit. Berlin: Merve 2012; Pikturale Evidenz. Zur Wahrheitsfähigkeit der Bilder. Paderborn: W. Fink 2015.
     
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    11H30
    Marguerite Humeau: Riddles
    Moderation: Hanna Magauer
     
    Marguerite Humeau’s work stages the crossing of great distances in time and space, transitions between animal and mineral, and encounters between personal desires and natural forces. The work explores the possibility of communication between worlds and the means by which knowledge is generated in the absence of evidence or through the impossibility of reaching the object of investigation. Marguerite Humeau weaves factual events into speculative narratives, therefore enabling unknown, invisible, or extinct forms of life to erupt in grandiose splendor. Combining prehistory, occult biology and science fiction in a disconcerting spectacle – the works resuscitate the past, conflate subterranean and subcutaneous, all the while updating the quest genre for the information age.
     
    MARGUERITE HUMEAU
    … (b. 1986, FR) lives and works in London, UK. Upcoming solo exhibitions include Haus Konstruktiv, Zürich, CH (2017); Schinkel Pavillon, Berlin, DE (2017). Recent solo exhibitions include Nottingham Contemporary, Nottingham, UK (2016); Palais de Tokyo, Paris, FR (2016). Marguerite Humeau is the recipient of the 2017 Zurich Art Prize. Her work is part of the collections of MoMA, New York, USA and Tate, London, UK.
     
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    12H30
    Susanne Witzgall: Ohne Gewähr. Das (Nicht-)Wissen der Kunst und das Potential des Unvorwegnehmbaren
    Moderation: Dennis Pohl
     
    Unser gegenwärtiges Verhältnis zur Zukunft erscheint nur auf den ersten Blick paradox: Während in unserer Gesellschaft das Bild von einer Welt ohne Zukunft heraufbeschworen wird, vermitteln computerbasierte Prognosen und spekulative Szenarien in Wissenschaft, Wirtschaft und Politik den Anschein zu wissen, wie unsere möglichen Zukünfte aussehen könnten. Doch unsere Zukunft wird durch ein angebliches Wissen über künftige Realitäten eher verstellt und ist nicht mehr als Möglichkeitsraum wahrnehmbar – auch deshalb scheint sich das Vertrauen der Gesellschaft in die Gestaltungsmöglichkeit der Zukunft im Sinkflug zu befinden. Die spekulativen Verfahren der zeitgenössischen Kunst – so die eigentliche These des Vortrags – richten sich dagegen oftmals weniger auf die Zukunft als auf eine Analyse der Gegenwart. Anknüpfend hieran diskutiert der Vortrag eine mögliche Öffnung der Zukunft durch Nichtwissen, Unbestimmtheit und die Erinnerung an das eigene Vermögen und zeigt wie die Kunst der Gegenwart gerade durch die ästhetische Erfahrung dieser Ungewissheit Raum für Potentielles bzw. Künftiges schafft.
     
    SUSANNE WITZGALL
    … ist promovierte Kunsthistorikerin und Leiterin des vom BMBF geförderten cx centrum für interdisziplinäre studien an der Akademie der Bildenden Künste München. Neben Lehrtätigkeiten in München und Newcastle (GB) war sie als freie Kuratorin und von 1995 bis 2002 als Kuratorin am Deutschen Museum Bonn und am Deutschen Museum, München tätig. Zu den von ihr kuratierten Ausstellungen gehören u.a. Say it isn’t so (2007), (Re)designing nature (2010/2011). Publikationen u.a. Die Gegenwart der Zukunft (hrsg. mit Kerstin Stakemeier), Zürich/Berlin: diaphanes 2016; Fragile Identitäten/ Fragile Identities, (hrsg. mit Kerstin Stakemeier), Zürich/Berlin: diaphanes, 2015; Macht des Materials / Politik der Materialität (hrsg. mit Kerstin Stakemeier), Zürich/Berlin: diaphanes, 2014.
     
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    13H30
    Mittagspause
     
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    14H30
    Omer Fast: Talking is not always the Solution
    Moderation: Felix Laubscher
     
    In the artist talk “Talking is not always the Solution” Omer Fast uses segments of his works “August“ (2016) and “Continuity” (2016) to discuss issues such as the relationship between fabulation, imagination and speculation in the process of cinematographic world-making. What role does knowledge and its unavailability play in Fast’s artistic practice? Could his films be described as filmic thought experiments on inaccessible pasts and alternative presents?
     
    OMER FAST
    … was born in Jerusalem in 1972. He holds a BA in English from Tufts University, a BFA in Visual Arts from the Boston Museum School of Fine Arts and an MFA from Hunter College in New York. Since finishing his studies in 2000, Fast has participated in over 200 international exhibitions, including one-person shows at the Whitney Museum in New York, the Jeu de Paume in Paris and the Martin Gropius Bau in Berlin. Group exhibitions include Documenta 13, the Venice Biennale 2011. Fast received the Bucksbaum award for his work “The Casting” at the Whitney Biennial in 2008 and has also won the Nationalgalerie’s Prize for Young Art in Berlin in 2009. His work is in several international collections including Tate Modern, the Guggenheim Museum, the Los Angeles County Museum of Art and the Centre Pompidou.
     
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    15H30
    Patricia MacCormack: Ahuman Aesthetics
    Moderation: Georg Dickmann
     
    The ethical encounter with art come from silences and the tenebrous illumination that discloses the planes which art unfurls to deliver us from our humanness toward pursuits of altered perception, celebrating certain ideas about the purpose and function of art without appealing to the expressions of those functions as affirming goals toward which the transcendental human aspires in the creation and appreciation of art. Encounters with art necessitate becoming ahuman insofar as art is defined as that which affects along trajectories deliberately organized to alter perception. This is so even when the art may seem to seek to reflect a reality in a more precise or reduced way. This paper will discuss ways in which the art-perceiver encounter may be rethought.
     
    PATRICIA MACCORMACK
    … is Professor of Continental Philosophy at Anglia Ruskin University Cambridge. She is the author of Cinesexuality (Routledge 2008), Posthuman Ethics (Routledge 2012), the editor of The Animal Catalyst: Toward Ahuman Theory (Bloomsbury 2014), the co-editor of Deleuze and the Schizoanalysis of Cinema (Continuum 2008), Deleuze and the Animal (EUP 2017) and Ecosophical Aesthetics (Bloomsbury 2018).
     
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    16H30
    Pause
     
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    17H
    Johannes Paul Raether: Identitecture
    Moderation: Annika Haas, Maximilian Haas
     
    Performance
     
    JOHANNES PAUL RAETHER
    … lebt und arbeitet in Berlin. Im Zentrum seiner Arbeit stehen konstruierte Identitäten (Avataras, AlterIdentities, SelfSisters), die an verschiedenen Ort in der Öffentlichkeit auftauchen, an denen sie forschen, lehren und Geschichten erzählen. Als bunte Wesen, die aus alltäglichen Gegenständen zusammengesetzt sind, diskutieren sie komplexe Themen wie Bio- und Reproduktionsindustrien, globalisierten Tourismus oder okkulte Substanzen in der zeitgenössischen Technologie. Raethers Arbeiten und Performances wurden u.a. gezeigt bei der 9. Berlin Biennale, im Palais de Tokyo Paris, im Fridericianum Kassel und bei Savvy Contemporary Berlin. Letzte Einzelausstellungen waren zu sehen bei District Berlin, Transmission Gallery Glasgow und Ludlow 38 in New York. Raether veröffentlicht in Texte zur Kunst und ist derzeit Professor für „Freie Kunst“ an der Kunstakademie Düsseldorf.
     
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    18H
    Pause
     
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    19H30
    Acud Kino
    Henriette Gunkel: The Chronopolitical in African Science Fiction
    Moderation: Maja Figge
     
    A film and video screening curated and commented by Henriette Gunkel
     
    This film program brings together three short films from the African continent and its diaspora that operate in the realm of the speculative. The films employ different temporal and aesthetic strategies and practices of future fictions – through references to a speculative archive, for example, or the audio-visual method of time travel. This way, they not only point to different politics of time (and as such disrupt the seemingly stable dimensions of past, present and future) but also to dreams deferred and the unfinished conversation about the African utopian project.
     
    Twaaga
    Director: Cedric Ido
    Year: 2013
    Running Time: 30 minutes
    Language: French/Arabic; English Subtitles
    Producer: Jérôme Bleitrach
    Production: Arte, Bizibi, Centre National du Cinéma
     
    Burkina Faso in 1987 is a country in the throes of revolution. Manu, an eight-year-old who loves comics, tags along with Albert, his big brother. When Albert decides to undergo a magic ritual to become invincible, Manu realizes there are real powers to rival those of his comic-book superheroes.
     
    Homecoming
    Director: Jim Chuchu
    Year: 2013
    Producers: Rebecca Chandler, Wanuri Kahiu, Idil Ibrahim
    Executive Producer: Steven Markovitz
    Running Time: 11 minutes 11 seconds
    Language: English / Kiswahili
    Subtitles: English
    Production: Awali Entertainment Ltd
     
    Nothing is what it seems as Max – a nerdy voyeur – turns fiction into truth and the mundane into the unexpected in his quest to get the attention of Alina – the girl next door. The city of Nairobi is threatened with imminent extinction, and now is his chance to save her and verbalize his unspoken desire. However, a mysterious stranger stands in the way of his happiness. Will Max overcome his fear and save the girl? Is Alina looking for a hero? A quirky, light-hearted look at obsession and the desire to be seen.
     
    Afronauts
    Director: Frances Bodomo
    Year: 2014
    Running Time: 14min
    Producer: Isabella Wing-Davey
    Language: English
    Production: Powder Room Films
     
    July 1969. It’s the night of the moon landing and a group of exiles in the Zambian desert are rushing to launch their rocket first. They train by rolling their astronaut, 17-year-old Matha Mwamba, down hills in barrels to simulate weightlessness. As the clock counts down to blast off, as the Bantu-7 Rocket looks more and more lopsided, Matha must decide if she’s willing to die to keep her family’s myths alive.
     
    HENRIETTE GUNKEL
    … is a lecturer in the Department of Visual Cultures at Goldsmiths, University of London. She is the author of The Cultural Politics of Female Sexuality in South Africa (Routledge, 2010) and co-editor of Undutiful Daughters: New Directions in Feminist Thought and Practice (Palgrave, 2012), What Can a Body Do? (Campus, 2010) and Frieda Grafe: 30 Filme (Brinkman & Bose, 2013). She is currently working on a monograph on Africanist science-fictional interventions, and on two further volumes: Visual Cultures as Time Travel, co-authored with Ayesha Hameed (Sternberg, forthcoming) and We Travel the Space Ways: Black Imagination, Fragments and Diffractions (Duke University Press, forthcoming).
     
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    Konzeption Kathrin Busch, Georg Dickmann, Maja Figge, Barbara Gronau, Felix Laubscher
    Organisation Juana Awad
    Assistenz Friedericke Biebel, Leonie Grützmacher, Johanna Heyne
    Gestaltung Jenny Baese
     
    Mit dankenswerter Unterstützung der Deutschen Forschungsgemeinschaft und des Präsidiums der Universität der Künste Berlin.
     
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    FR 7.7 // 9H30 // FREE
    ACUD STUDIO+KINO // SYMPOSIUM
    ÄSTHETIKEN DES SPEKULATIVEN:
    LUDGER SCHWARTE // MARGUERITE HUMEAU // SUSANNE WITZGALL // OMER FAST // PATRICIA MACCORMACK // JOHANNES PAUL RAETHER // HENRIETTE GUNKEL
    spekulation ist ein riskantes unterfangen. welches andere wissen legen die spekulativen verfahren der kunst frei?
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