Errant Bodies project space is dedicated to experimental work in sound, performance, voice and spatial practices. Through residencies, workshops, events and exhibitions, Errant Bodies emphasizes an engagement with process and dialogue, encouraging a dynamic and diverse approach to the sound arts. As a project space, it also intends to foster social and public activities, contributing to the creative scene in Berlin. It is organized and developed through its working group comprised of Berlin-based sound artists and researchers.
We cordially invite you to the presentation of the book:
A Voice That Once Was in One’s Mouth
by Heimo Lattner
Sunday, December 15, 2013, between 4 p.m. – 8 p.m.
With hot and cold drinks, and readings by:
Brandon LaBelle, Moritz von Rappard, Karolin Nedelmann, Penelope Wehrli,
Daniel Belasco Rogers, Patrick Charles, Heimo Lattner a.o.
A Voice That Once Was in One’s Mouth
Errant Bodies Press: Critical Ear Vol. 6
Book with CD
174 pages, black and white
The book assembles six conversations recorded in Berlin between
Heimo Lattner and colleagues - Karolin Nedelmann, Moritz von Rappard,
Judith Raum, Brandon LaBelle and Jassem Hindi - focusing on the artist's
research and practice. The conversations form a base for exposing key issues
approached in Lattner's work, from Greek theater to city development,
processes of displacement and gentrification to the re-interpretation and
appropriation of cultural traditions, languages and ancient forms of communi-
cation. At the center of the conversations is the recurring theme of the voice,
which Lattner's work queries as fundamental to issues concerning the formation
of social and cultural identity. Lattner asks us to consider how the voice comes
to carry contested meanings.
Heimo Lattner is an artist working with film, video, performance, audio-play,
room installation, installation and intervention in public space, drawing,
cartography and writing. Since the late 90s he has also worked in the collective
e-Xplo with Erin McGonigle and Rene Gabri, developing interventions in
public space. Lattner is a founding member and co-operator of the project-
space General Public in Berlin. He is a guest lecturer at several universities
in the fields of research-based art, public art and creative writing. He lives in Berlin.
Presentation of a Prototype of
GROUND - Multisensory Installation from Anke Eckardt (2013)
Vernissage: Friday 29th November 2013 at 7pm
Opening hours: Saturday 30th / Sunday 1st of December 2013 from 4pm-8pm & Thursday 5th - Sunday 8th of December 2013 from 4pm-8pm
The presentation takes place in cooperation with GENERAL PUBLIC IN EXILE
The GROUND is in motion. Thus it will move the visitors which stand on it. The motion of the ground can be felt via the equilibrium sense (sense of balance), can be seen and can be heard. The grinding, sanding, pushing, bouncing, vibrating, creaking of the mechanically moved material will produce a varity of tonal qualities with diverse roughness and awakes associations of earth quakes, tectonical plates in motion, but also of the diffuse experience of loosing the ground. In 1934 Husserl wrote about the ground as reference for the perception of space and the perception of self, ‘Now, when I “conceive” the earth as a moved body, I use a ground to which all experience of bodies, and hence all experience of continuing to be at rest and in motion, is related.’ (Husserl, 1934). Vilem Flusser as an emigrated jew wrote about a hovering self over the abysm in his auto-biography 'Bodenlos’ (‘Groundless’). In his book 'Vampyrotheutis Infernalis' Flusser analyses the floating 'otherness' of a huge octopus in the deep sea and draws a line to the psychology of human beings.
Concept/Realisation/Composition: Anke Eckardt
Construction: hertzer GmbH, Berlin
Thanks to: Marcus Schmickler
Co-funded by BA Pankow von Berlin - Amt für Weiterbildung und Kultur, Fachbereich Kunst und Kultur and Einstein Foundation Berlin, realized with the support of the Graduate School of the Arts and Sciences.
reduced fragment, size: 10,5m2 vertically moved
42 elements of concrete
42 elements for vertically pushing impulses
Final Installation (January 2014):
size: 30m2, vertically and partly horizontally moved
84 elements of concrete
72 channels of vertically pushing impulses
6 rows of horizontal motion
Sunday November 24, 2013
On Sunday, November 24, textile artist Lisa Simpson presents Fashion Orchestra – a musical sewing performance, in the project space Errant Bodies, on Kollwitzstraße 97, between 5 and 9 pm. During the afternoon, the public can bring their clothes for upcycling, giving new life to old garments. In the evening Lisa joins fellow musicians* and performers in a spontaneous exploration of textiles, music, rhythm and sound. The sewing machine becomes percussion instrument, and garments are constructed live, to the beat of the music. The collaborative performance stitches together improvised music and improvisational clothing.
*musical sewing performance with Fatty Acid Land and special guests Taiko Saito (vibraphone) and Tobias Schirmer (Bass Clarinet): 7pm
General Public in Exile
Talk with Penelope Wehrli
House of Snow – A Real Time Video and Sound Processing Application
Friday, November 15, 2013 - 7:30 pm
Errant Bodies, Kollwitzstrasse 97
A video of bees on a honeycomb structure. The movement of the bees trigger a real time score of text and sound. A layer of rendered scrolling texts about three very different temporal processes (by Stanislav Lem, J.W. von Goethe, Maurice Maeterlink) and a 4-channel audio composition based on material from "my gait", a longterm sound study by katrinem about her own rhythm of walking in urban space are created by a number of set rules.
A piece about perception and time, - and the process of reading and understanding.
A small hommage to Buckminster Fuller.
Penelope Wehrli – concept, video, text adaption
Joa Glassetter – system architecture, implementation
katrinem – sonarisation, composition of sound material
Funded through TESLA Berlin e.V.
Penelope Wehrli - born in Zürich, lives presently in Berlin.
2004 - 09 Professor for Scenography at the University for Arts and Design, Karlsruhe. As scenographer work with Johann Kresnik, Jossie Wieler, Dimiter Gottscheff, Robert Schuster, Barbara Frey at Opera Basel, Schauspielhaus Zurich and Hamburg, Volksbühne Berlin a.o.. Exhibitions, Performances, Installations, Films, Videos have been presented in New York, Belgrad, Bangalore, Tel Aviv. Since 2001 intermedia installations with live-performance. HYPERLINK "http://www.aether1.org" www.aether1.org
ORIGINALFASSUNG is a series of talks and discussions based on an understanding of collaboration rather than competition motivated by the curiosity of strangers or visitors to tap into different fields, such as science, music, architecture, art, dance, choreography, theater, film, politics, design, media, economics, journalism. ORGINALFASSUNG was initiated by Geoff Garrison, Heimo Lattner and Oliver Baurhenn in 2003.
Performance by Alexandre St-Onge
Wednesday, October 16th
VIORUPEEEEIHEAN is a sound performance generated by various tactics of pragmatic approach of the ineffable that testify on the emergence of monstrous voices and hermetic entities through the creative process. VIORUPEEEEIHEAN is a heterogenous creature possessed by sound spectres. VIORUPEEEEIHEAN.
Alexandre St-Onge is an audio artist, a musician/improviser (acoustic bass, bass, voice and electronics) and a sound performer. He has studied literature and philosophy and he is currently doing his PhD in art. He is fascinated by creativity as a pragmatic approach of the ineffable and he has released ten solo albums: viorupeeeeihean (Oral), Ailleurs (&records), Aimer la concrescence (MiniAlbum/Absence Of Wax), Entités (Oral), Joseph Carey Merrick (MiniAlbum/Oral), Mon animal est possible (Alien8 Recordings), L’amitié ou les rumeurs insoutenables du désir (Squint Fucker Press), kasi naigo (Squint Fucker Press), Une mâchoire et deux trous (Namskéio Records), Image/négation (Alien8 Recordings). He also plays in quite a few bands, including Et Sans, K.A.N.T.N.A.G.A.N.O., Klaxon Gueule, Pink Saliva, mineminemine, Shalabi Effect and undo. As a composer he has worked for interactive/mixed-media company kondition pluriel, as well as composing for artists such as Marie Brassard, Karine Denault, Lynda Gaudreau, Line Nault, Jérémie Niel, Maryse Poulin and Mariko Tanabe.
Monday September 23rd
Jason Kahn Berlin Concert (2013)
Jason Kahn / composition, drum set
Richard Kamerman / electronics
Bryan Eubanks / soprano saxophone, electronics
Rishin Singh / trombone
Johnny Chang / violin
"Since 2004 I've been realizing graphical scores for different groups of musicians. The scores leave room for improvisation but also impose a time structure on the movement of the pieces and a set of abstract graphical forms for the musicians to interpret. I tend to work with musicians who either I know personally or whose music I have heard, as I compose these pieces for specific people as opposed to just instruments. Each score is composed for a particular group, ranging in size from four to eight musicians. The pieces last from sixty minutes to two hours. I'm as much interested in the social dynamics of the different personalities involved in these groups as the instruments these musicians play."
More information about previous scores can be found at http://jasonkahn.net/scores/index.html
Saturday, July 6th, 2013
A talk by DISCOTECA FLAMING STAR
"DUETT #5 (Loveletter to Pasolini – attempt 1)"
> You should never talk about things that you have not yet done < > You should never work with a baby when it's your own <
In a loving dialogue with Pasolini's "Uccelacci e Uccelini (Hawks and Sparrows)". With empathy to an understanding of one's own work, one's own film, that is yet to be done. Sitting with the audience on Alfombras. Spatial transformations to capture disorders and words. Grown out of the experience of performing songs: they are a scenography, a scenography of the writing that reflects its slippery, fragmentary essence.
DISCOTECA FLAMING STAR:
an interdisciplinary collaborative art group, a group of people which uses songs and other forms of oral expression, understanding them as a personal response to historical events and social and political facts.
Through conceptual, visual and musical transfers, they create performances, sculptures, drawings, stages and situations whose foremost intention is to question and challenge the memory of the public, transforming old desires and finding invented pasts, or pasts which never occurred. DFS is the place where the oracle speaks through the non-chosen. DFS is a love letter written in the present continuous, a love letter to thousands of artists.
They expoit their knowledge and lack of knowledge, working slowly, inspired by Anita Berber, Warhol's wig, ghosts with no home, Rita McBride's "Arena", Greg Bordowitz, Mary Shelley, Karl Valentin & Lisl Karlstadt, the Vienna Group, Alvaro, Joey Arias and David Reed's paintings and dialogues.
DFS present wonderful songs of love, consumption, fervour and feminism, carpets that help to cross burning bridges, fragile essays as drawings, and things that go together even though they shouldn't...
They act directly in the gap between action and documentation, generating and finding documents that can be used to articulate strange tongues and languages that incite action and argument.
Cristina Gómez Barrio and Wolfgang Mayer have been the base of Discoteca Flaming Star since 1998.
Readings and works by Christof Migone & Allen S. Weiss
Sunday, June 16th, 2013
In celebration of long-standing collaborations, Errant Bodies is pleased to welcome Christof Migone & Allen S. Weiss. The authors/artists will present their works through performative readings, drawing upon their publications released by Errant Bodies Press - "Sonic Somatic" and "Sound Voice Perform" by Christof Migone, and "Varieties of Audio Mimesis" by Allen S. Weiss.
Christof Migone is an artist, curator and writer. He obtained an MFA from the Nova Scotia College of Art & Design in 1996 and a PhD from the Department of Performance Studies at the Tisch School of the Arts of New York University in 2007. He currently is a Lecturer at the Department of Visual Studies and the Director/Curator of the Blackwood Gallery (University of Toronto).
Allen S. Weiss is a theorist, editor, translator, curator, playwright who has authored and edited over 35 books in the fields of performance theory, landscape architecture, gastronomy, and literary studies, including Phantasmic Radio (1995) and Breathless: Sound Recording, Disembodiment, and the Transformation of Lyrical Nostalgia (2002). He directed Theater of the Ears (a play for electronic marionette and taped voice based on the writings of Valère Novarina), and Danse Macabre (a marionette theatre with the dolls of Michel Nedjar). He teaches in the Departments of Performance Studies and Cinema Studies at the Tisch School of the Arts of New York University.
THIS IS THE END
8 – 12 May
Open Studio > 11.00 – 19.00 h
with: Gilles Aubry, El Cocuy, Jacopo Gallico-Marco Giani-Fabio Campagna, Iris Touliatou, O.s.t. project
Friday May 10th
19.00 “Nice Rain” performance and discussion by Gilles Aubry
Saturday May 11th
18.00 “Here Ain't Bodies” live performance by El Cocuy with Bob Meanza, Pillowdiver and Claudio Rocchetti
ERRANT BODIES Project Space
Kollwitzstrasse 97, 10435 Berlin
THIS IS THE END is a research project by Marta Ferretti and Gaia Martino, invited as curators in residency at the Errant Bodies project space. This research investigates the relationship between narration and public space in the specific context of Berlin, in collaboration with artists that propose different points of view on the possibility to imagine a narrative topography of the city.
Between May 8th and May 12th the Errant Bodies project space, research studio during the residency period, will be open to the public with interventions by Gilles Aubry, El Cocuy, Iris Touliatou and Jacopo Gallico with Marco Giani and Fabio Campagna. In parallel, it will present the curators' specific research about the neighbourhood Prenzlauer Berg, developed during the residency period: in this context the project O.S.T. takes place, it welcomes the kind collaboration of several Berlin based musicians for the composition of site specific soundtracks.
Starting from the idea that space is not merely an abstract concept but it exists in the experience of everyone, public space could be considered as always open. It is an on-going process, a work in progress constantly produced by personal and collective involvement. It is a never ended result, every time determined by how space is oriented, situated and temporalized by the perception of the people. Without strict boundaries, public space could be considered an entity shaped by the processes and by the physical places where communication and exchange arise, wherever is possible negotiation of the parties involved. We refer to narration as one of these sites of negotiation, as a product of collective tensions where subjectivities may be produced and recognized.
THIS IS THE END is a frame of reflection about these issues, a space for discussion deliberately left open. All the artists involved have contributed with their point of view to enrich the discussion; finally, the open studio is the occasion for sharing the practical results of these reflections. Working on everyday perception of the city’s space, confronting different practices, from field recordings to live performance, from walking to imagining, from ping pong playing to soundtrack composing, the invited artists reflect in a kaleidoscopic and site specific way on their action into specific places of the city and their memory of collective habitation.
The video La Danse, "Jedes Dasein scheint in sich rund"? by Jacopo Gallico, Marco Giani and Fabio Campagna is a vision of contemporary society through the investigation of a peculiar place, a public space where are dominant stereotypes like game and ritual, participation and competition, rhythm and circularity, but also youth cultures and gentrification. The work is inspired by the homonymous Henry Matisse´s painting "La Danse" (1909).
ACT III. On the inconclusive act of hammering a nail into a glass wall is the last part of the triptych narrative The Glass House-Proposals for the realization of three impossible acts by Iris Touliatou. The project is loosely based on Sergei Eisenstein's scenario for 'Glass House' (1926 - 1932), a film that the pioneering director and former architect would unfortunately fail to complete. The script for ACT III unfolds around Mies Van der Rohe's unrealized glass skyscraper for Berlin's Friedrichstrasse in 1921, questions transparency, documents and mythologizes the conflict between the utopias of glass architecture. Touliatou proposes the audition of an original cast recording of the piece, performed in Turin in 2011 and engraved for THIS IS THE END on a 10 inch transparent vinyl.
Nice Rain by Gilles Aubry is a performance that explores the notion of urban sound document from the perspective of a diversity of recording practices and intentions. Including contributions by 25 local and international sound artists, the project will be an attempt to discuss and re-situate the community of field recording practices within the field of intentionality and reflexivity, as possibly opposed to a logic of place.
In the performance Here Ain’t Bodies by El Cocuy, different parts of the city will be connected with each other through the creation of an unusual soundscape that would also encourage the curiosity of the public about their own city. The concert, dislocated in three different parts of Berlin, will be broadcasted in real time at Errant Bodies project space, the only location where it will be possibile to listen to the whole performance.
THIS IS THE END aims to propose a different possibility of considering our relationship with places, using the prism of narrative as a priviliged point of view from which it is possibile to engage with the urban space and imagining a different topography. Like a compass, the Errant Bodies project space is presented now as a possible key to activate a narrative topography of Berlin. It will be the place where artists will write the words ‘THE END’ to their stories and this same end may become the beginning for the experience of other people.
| THANKS TO
Brandon Labelle, Vincenzo Gagliardi, Valeria Merlini, Tatjana Fell, Stefania Donzelli, Valentina Marinone, Bob Meanza, Pillowdiver, Claudio Rocchetti, Da Baffi, Altes Finanzamt, Buchhandlung LeseGlück, Luca Facci, Davide Pizzoli, Iku Sakan, Francesco Provenzano, Jan Preißler, Ralf Helfrich, Fabio Carboni.
The project is developed as research into the relation between narrative and public space particular to the city of Berlin. It aims to investigate the notion of "narrative city topography" through open discussions, walks, artistic collaborations and events.
To follow the project see:
Marta Ferretti and Gaia Martino are curators working between Milan and Berlin.
They are graduated in MA Visual Arts and Curatorial Practices at Iuav University in Venice. Their interests are focused on site specific and spatial practices. For THIS IS THE END, these questions will be explored through the lens of architecture, narration and sound.
sound, multiplicity and radical listening
Tao G. Vrhovec Sambolec
Workshop: January 19th - 20th, 2013
Opening: January 26th, 2013 - 7pm
Exhibition: January 27th - February 3rd, 1 - 5pm
Dirty Ear Forum focuses on contemporary sound culture and sonic practices as an expanded framework for rethinking knowledge structures and creative strategies, spatial demarcations and bodily identities, and for exploring modes of radical listening.
Bringing together leading international artists and researchers, the Forum is developed through an intensive workshop and aims to integrate diverse sonic methodologies and strategies of audition. It is the intention of the workshop to map out the auditory as a platform by which to imagine routes in and around the intensities of global culture. To (dis)figure a politics of the senses and the sensible.
Currents in sonic culture and audible practices have emerged as important intersections of research and production, defining a highly active territory by which to engage issues of citizenry and representation, technology and the sensate, ecology and inter-species communication, as well as immaterial economies and the transnational. The primary animations of the audible have come to reveal a paradigmatic frame for agitating disciplinary borders and tuning us toward a post-humanistic commons.
Dirty Ear Forum aims to map such a commons by integrating noise, ephemeral bodies, voicings, and the unsounded. Resulting in a collective sound work installed across multiple rooms, along with an archive of documents and propositions, the Forum creates an acoustical space aimed at multiplicity, interruption and punctuation, and public life.
The Forum is part of the reSource 003: P2P Vorspiel presented by Transmediale 2013 (www.transmediale.de) and CTM.13 (www.ctm-festival.de).
Zeynep Bulut is a research fellow at the ICI Berlin Institute for Cultural Inquiry. She received a Ph.D. in Critical Studies/Experimental Practices in Music from the University of California at San Diego in 2011. Bulut investigates the use of non-linguistic voice and bodily sounds in experimental music and sonic arts, drawing on psychoanalysis, phenomenology, and sound and performance studies. Her most recent publication, “Theorizing Voice in Performance: György Ligeti’s Aventures,” appeared in Perspectives of New Music. Alongside her scholarly work, Bulut has composed and performed voice and sound pieces for concert, video, and theatre, which have been exhibited in the United States, Europe and Turkey.
Budhaditya Chattopadhyay is an artist and researcher from India. Working at the intersection between research, artistic process and practice, he incorporates audio, video, text and digital media, generating a diverse range of sound-based artworks for exhibition, publication, installation and performance. He studied cinema at the National Film-School SRFTI in India, and later pursued Master of Arts in New Media with emphasis in Sound Art from Aarhus University, Denmark. His works have been exhibited internationally, receiving many awards and distinctions, such as the prestigious Arts Scholarship from Charles Wallace Trust, London 2011, and an Honorary Mention at PRIX Ars Electronica 2011, Linz.
Ole Frahm is an author, theorist and artist, and member of the radio group LIGNA. Their works explore temporary forms of collectivity, often aimed at critical engagement with issues of public space and public life. One of LIGNA's models of media usage, the Radio Ballet (invented in 2002), provides radio listeners with a choreography of excluded and forbidden gestures in formerly public, now controlled spaces. Frahm is based in Berlin.
Anja Kanngieser is a political and cultural geographer working at the intersections of labor self-organization, migration, experimental politics, the voice and radio. She is primarily interested in political and social collectives that use creative strategies to compose temporary commons and organizations by which to re-imagine potential political landscapes. She was awarded a PhD in 2009 jointly from the School of Culture and Communication (Media) and the School of Land and Environment (Cultural Geography), University of Melbourne. She is currently a post-doctoral fellow at Royal Holloway, University of London.
Brandon LaBelle is an artist, writer and theorist based in Berlin. His works explore questions of social life, articulations of agency and cultural narrative, using sound, performance, text and sited constructions. His work has been presented at the Whitney Museum, NY (2012), Image Music Text, London (2011), Sonic Acts, Amsterdam (2010), Instal 10, Glasgow (2010), Museums Quartier, Vienna (2009), 7th Bienal do Mercosul, Porto Allegro (2009), Center for Cultural Decontamination, Belgrade (2009), Casa Vecina, Mexico City (2008), Netherlands Media Art Institute, Amsterdam (2003, 2007), and Ybakatu Gallery, Curitiba, Brazil (2003, 2006, 2009). He is the author of Diary of an Imaginary Egyptian (2012), Acoustic Territories: Sound Culture and Everyday Life (2010), and Background Noise: Perspectives on Sound Art (2006). He is editor of Errant Bodies Press and Professor at the Bergen Academy of Art and Design, Norway.
Anna Raimondo is an artist and independent curator from Italy. Her work explores listening as both political and aesthetic experience, using sound as a tool to build ephemeral communities and generate social relations. Her works have been broadcasted and presented internationally, including recent participation in “Paraphrasing Babel", Maastricht. Her curatorial projects focus on sound and radio art presented in different structures, including recently at the V&A Museum, London and “Le Cube”, Rabat. She is co-editor (with Younes Baba Ali) of Saout Radio, a web-based radio station in Morocco dedicated to the development and dissemination of contemporary audible art in Africa and the Middle East. She lives and works between Brussels and London.
Åsa Stjerna is an artist from Sweden working with location-specific explorations of phenomena through sound. Stjerna was educated at University of Arts, Crafts and Design and The Royal University College of Fine Arts in Stockholm, with further studies in musicology and philosophy at Stockholm University, and at the Institute for Electro-Acoustic Music in Sweden (EMS). She has participated in numerous exhibitions in Sweden and internationally, and has written extensively on sound art, regularly contributing to the contemporary music journal Nutida Musik. Stjerna’s works are mainly concerned with the experience of time and place, closely associating notions of nature in relation to the urban environment.
Tao G. Vrhovec Sambolec is an artist and musician based in Amsterdam. His artistic practice is a poetic exploration of relationships between transitory and temporal flows like sound, weather phenomena and human activities, and the architectural and social spaces they inhabit. His works have been shown and performed internationally at festivals, in galleries and museums, such as Ars Electronica Festival, Linz; AV Festival, Newcastle; Museum of Modern Art, Ljubljana; MuseumsQuartier, Vienna; La Gaîté Lyrique, Paris; and Netherlands Media Art Institute, Amsterdam. In 2010 his work Virtual Mirror - Rain was awarded Hybrid Arts Honorary Mention at Ars Electronica.