Camp for 12,756 tone music, obscure teaching and organ of the world-ventriloquist-lodge
6 PM — SCREENING
"Die Versuche des Naum Kotik" a film by Kaerma Burg
8.30 PM — CONCERTS
Maximilian Glass & Michael Thieke (clarinet & feedbacks)
Riccardo La Foresta (resonances & vibrations)
Guru Hase & Suse Wächter (disturbing puppets & the hands of god)
Moleglove (a/v with Rashad Becker, Jürgen Eckloff & Robert Schalinski)
+ VEGAN MEAL!
we celebrate the glowing sparkling sizzle of this dark reality
Tickets only at the door! 12-15€ / Vegan meal: 5€
www.nnoi.de
About the film
Die Versuche des Naum Kotik
D 2021, 92 min, 16:9
with NAUM KOTIK JR., EYN LUMP, DOREN KUTZKE, HELLMUT KÖNTGES
Kamera - Georg Lauff, Licht - Dören Kutzelnika, Ton - Ron Eck
Buch & Regie - Kärma Burg
In 1907, "The Emanation of Psychophysical Energy" by Dr. Naum Kotik is published. In it he scientifically proves that thought transference is possible. His grandson, Naum Kotik Jr., continued his grandfather's research many years later and began using his knowledge in the field of film. Two hardly comparable versions of the film "Girls in Dirty Aprons", which is based on a screenplay by his grandfather, emerge.
In her film debut, Kärma Burg traces the origins of these films intensively. She visits and interviews Naum Kotik Jr. which gives detailed information about the genesis of "Girls in Dirty Aprons" and explains the historical and scientific background in an illuminating way.
In addition to several scenes from both film versions, which can be seen here for the very first time, Kärma Burg also manages to procure scenes from the shooting, which have been skilfully and sensitively blended into a timeless montage about a cinematic phenomenon.
About the Artists
Maximilian Glass (feedbacks) & Michael Thieke (clarinet)
Maximilian Glass is a Berlin based sound artist, improviser and composer. He interprets playback devices as musical instruments, creates feedback-systems and plays objects. Beside solo, duo and ensemble concerts he works on installations and as a free radio artist in scenarios of site-specific interactions.
Michael Thieke - clarinetist/composer/performer - is equally at home across a broad range of musical environments, such as experimental song forms, collectively composing projects, improvising collectives, and music on the fringes of jazz. He is exploring the minutiae of sound, timbre and noise, with a particular interest in microtonality and related sound phenomena. The qualities of slowness are another field of his research. He has a preference for long-term collaborations and collective work.
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Riccardo La Foresta is a percussionist, sound artist and curator from Modena (Italy) whose research of the last years wants to question the role of the drum as a percussive instrument. Resonances and vibrations generated treating the drum as an aerophone, create acoustic drones, ancestral melodies and complex beats that drastically distance the instrument from traditional drumming. The ongoing process of his research is focused on the development of a system called Drummophone. His performance blurs the lines between percussion music, sound art, improvisation, and drone music, revealing the acousmatic response of the architecture.
Suse Wächter is one of the most important puppet makers and players in Germany and is celebrated for her productions. Born in 1969, studied at the Ernst Busch Academy of Dramatic Art in Berlin. Since then she has been working on the reinvention of puppet animation in theatre, among others in Frankfurt, Berlin, Munich, Cologne, Zurich and at the Salzburg Festival. The interaction of her artificial figures with actors, sometimes also with singers or dancers, is characteristic of many of her productions.
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Moleglove was born out of the ashes of the notorious Column One. The Berlin-based triumvirate of Robert Schalinski, Rashad Becker and Jürgen Eckloff decided to throw off their masks and envision a heightened focus on sound rather then on performance. The three masters in contemporary electronica are bound by a very defined approach that you can call absolute music. An approach in which sounds are detached and isolated from the ‘real’ world. Abstraction is the key to create an immersive and pure experience, fuelled by a taste for the uncanny, the unheimlich and the confused. A musical equivalent of being sucked into Samuel Beckett’s Molloy novel. (Niels Latomme)