THEORETICAL WRITINGS

Interaktionslabor / Performance Academy

2023

 

 

no. 1 Vogelstimmen (Johannes Birringer)

no. 2 Bird Voices (Johannes Birringer)

no.3

no. 4

no. 5

 

 

 

Research Materials for 2032 Performance Compostition

 

Exhibitions

 

VOGELFREI
Kunstentdeckungen in Privatgärten
Zentrum für Kunst und Natur e.V. (ZKN e.V.)

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Einladung zum KunstTREFFpunkt Performance Festival -
20 Jahre KunstTREFFpunkt 2002 bis 2022



Seit 20 Jahren werden ortsspezifische und interaktive Performance Projekte an öffentlichen Orten durchgeführt: in der Darmstädter Innenstadt, Prinz Georgs Garten, vor der Centralstation, dem darmstadtium, dem Waldkunstpfad bzw Waldkunstzentrum. Die Aktionen sind ein niederschwelliges Angebot an Passanten als Zugang zur Kunst. Der KunstTREFFpunkt war 2002 das erste Performance Event in Deutschland, dass ausschließlich Performances im öffentlichen Raum durchführte.


Der Auslöser für das Projekt war die 5. Internationale Performance Studies Conference an der Universität Mainz mit dem Institut für Theaterwissenschaft. Das „KunstTREFFpunkt Festival“ ist eine Kooperation mit dem Verein für Internationale Waldkunst e.V. und dem Zentrum für Performance Studien. Es findet an Veranstaltungsorten in der ganzen Stadt mit ca. 10 internationalen Performance KünstlerInnen statt, die analoge bzw. digitale Performances durchführen.


Ausgangsort ist das Festivalzentrum im Int. Waldkunstzentrum, wo auch der „Digitale KunstTREFFpunkt“ stattfindet. Das Rahmenprogramm mit Ausstellungen, Filmen, Dokumentation, Performances, Gesprächen und Festival Cafe wird zur Hauptaktionszeit vom 28.8. - 17.9.2023 angeboten. Für die KünstlerInnen besteht die Möglichkeit zu anderen Zeiten des Jahres zu performen. Die Schader Stiftung bietet ein Gespräch zum Thema Performance im öffentlichen Raum an (geplant). Unsere Themen werden wie bisher die Nachhaltigkeit, der Wald, der Klimawandel, Kunst und Essen, Community Art, Wasser aber auch sozialkritische, nachdenkliche und anregende Ideen sein.


Die Dauer der Interaktionen beträgt 3-7 Tage. Die PerformerInnen treten am Ort ihrer Wahl mit Menschen aller Altergruppen in Kontakt. Interaktion und Kommunikation stehen im Mittelpunkt, ein gemeinsam erschaffenes Kunstwerk und eine individuelle Kunsterfahrung ist das Ziel. Der Blick von außen ermöglicht den Passanten neue Sichtweisen. Performancekunst ist eine effektive Methode direkten Kontakt zum Publikum aufzunehmen. Themen der KünstlerInnen sind Wahrnehmung von Kunst, der Umwelt, Dialoge und Selbstreflexion, dabei eröffnet der „Digitale KunstTREFFpunkt“ Künstlern und Besuchern weitere Dimensionen.
Durch digitale Zugangsmöglichkeiten von performativer Kunst wird diese Auseinandersetzung im urbanen Raum möglich und erschließt neue Interessengruppen. Die Interaktionen im öffentlichen Raum werden auf der digitalen KunstTREFFpunkt Karte sichtbar sein, dort sind auch die bisherigen 16 KunstTREFFpunkte schon eingetragen.

„KunstTREFFpunkt“

28.8. bis 17.9. 2023

Der „KunstTREFFpunkt“ ist eine Serie von bisher 16 Performance Projekten im öffentlichen Raum, die im Mai 2002 begann. Die jeweilige Dauer der Interaktionen beträgt drei bis sieben Tage. Bisher wurden 24 internationale Künstlerinnen und Künstler eingeladen, im städtischen Raum von Darmstadt (an einem Ort ihrer Wahl) oder auf dem Waldkunstpfad durch performative Arbeiten in Kontakt mit Menschen aller Altergruppen zu treten. Die Interaktion steht dabei im Mittelpunkt und ein gemeinsam erschaffenes Kunstwerk oder eine gemeinsame bzw. individuelle Kunsterfahrung ist das Ziel. Wichtig dabei ist der Blick von außen, der den Passanten neue Sichtweisen ermöglicht, (d.h. dass die KünstlerInnen möglichst aus verschiedenen Ländern oder zumindest aus anderen Regionen Deutschlands kommen sollen.). Performancekunst ist eine sehr effektive Methode direkten Kontakt mit dem Publikum aufzunehmen. Themen der bisher aus England, Finnland, Italien, Niederlande, USA und Portugal angereisten KünstlerInnen sind die Wahrnehmung ihrer Umwelt, der Dialog miteinander oder eine Selbstreflexion. Bisher haben jeweils 8 KünstlerInnen alleine bzw. als Künstlerpaare performt.

Management:: Ute Ritschel

Internationales Waldkunst Zentrum (IWZ)
Ludwigshöhstraße 137
64285 Darmstadt
Tel. +49-6151-7899537
www.waldkunst.com

 

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Gallery Puzic´

Im Osten nichts Neues


Gega Paksashvili, Satisfaction, Acrylic, marker on canvas, 138x194 cm, 2021

 

Opening – Tuesday, June 13, from 6 p.m., with multimedia works by Gega Paksashvili, Kristina Bajilo, Alina Panasenko, Mensud Kec╣o, Esad Puzic´, Gordana Novakovic´, Rastko Novakovic´ and Beatric╣e▓ Bukantyte▓, as well as a fragment of a novel by Aka Mortschiladze (recited by Irakli Rukhadze), with opening concert (Grigor Asmaryan, Artur Kurghinyan)

2nd concert, Wednesday, June 14, from 7 p.m. (music from Georgia and Armenia, with Tamara Meshvelischvili, violin and vocals; Paul Gurti, piano; Dali Zimmermann, vocals;
Artur Kurghinyan, violin; Grigory Meshvelishvili, Grigor Asmaryan, piano)

3rd concert, Thursday, June 15, from 7 p.m. (German composers, with Max Bruch Trio)

Duration of the exhibition: June 13, 2023 – July 11, 2023
Johannisstrasse 3A, 66111 Saarbrücken

Gallery Puzic´ celebrates the opening of its new exhibition with multimedia works by various artists from Eastern Europe, combining the vernissage with a three-day music festival which takes place in the evenings of June 13th, 14th & 15th in the gallery rooms.


Im Osten nichts Neues puts an exclamation mark behind the questions “Where is home,“ “Where is the war,“ “What red line runs through the history of peoples,“ “What is a migration background,“ “Is there a language of the sun,“ “What does it mean to experience war“..

Kristina Bajilo, Jungle, oil on cavnas, 100x74 cm, 2018

The diverse works and performances of this artistic experiment of the gallery call into question human languages and forms of expression in every respect with regard to their possibilities and limits, in order to overcome the apparent contradiction (the East of the West?) that we encounter in communication or translation , i.e. the misunderstanding – Walter Benjamin once spoke of the “Aufgabe of the translator“ – that repeatedly stares us in the face.


The recently deceased Bosnian writer Dz╣evad Karahasan wrote during the siege of Sarajevo and before the city was largely destroyed: "I fell silent and felt an insane coldness, probably something in me had realized that a world had been wiped out, the only one which I had known and inhabited" (The Solace of the Night Sky).


Im Osten nichts Neues reminds one of the haunted, disturbed memory, but also of umut (hope), perhaps of consolation, as well as macabre moods and black humor, the will to survive. The works on display, particularly Gega Paksashvili's “Yellow” series, speak to us in their own language; the photographs, graphic prints, paintings and objects by Kristina Bajilo, Alina Panasenko, Mensud Kec╣o, and Esad Puzic´ are complemented by the media installation by Gordana Novakovic´ and a film screening, Wormwood Maria, by Rastko Novakovic´ & Beatric╣e▓ Bukantyte▓. A reading from Aka Mortschiladze's novel The Dogs of Paliaschvili Street (translated by Irakli Rukhadze) is also part of the opening, as is the extraordinary music concert program, aranged and conducted by Grigor Asmaryan with guest musicians.

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Experimance

Sound Art Festival

13- 16 July, 2023

Including two artists presented at

Gallery Puzic´

(1)

Alan Affichard
Alternative tribology
Sound installation


Alternative tribology is an ongoing research that explores various phenomena of frictions through a series of handmade electro-acoustic instruments. Bringing together several attempts to measure forces of friction with and through sound, these sound objects connected together, are activated by air pressure, electric relay and vibratory processes, then amplified by microphones and hydrophones. Inspired by visual forms from archeology and laboratory, the installation tries to rethink the notion of instrument, using the mechanics of fluids, heat and energy transfers as elements for sound composition.


Bio:
Alan Affichard is a French artist based in Berlin.
Through installations and performances, his practice focuses on sound not only as a medium, but also as a method of inquiry. Experimenting with techniques from various fields such as instrument making, traditional crafts, and computer programming, he creates works that reveal acoustic dynamics as well as their instabilities.

(2)

 

scenocosme : Grégory Lasserre & Anaïs met den Ancxt
Phonofolium
Interactive and sonorous tree


Phonofolium is an interactive artwork with a living tree reacting to the human touch by a sound, a voice. This tree «language» occurs through touch and the close proximity of the spectators, thanks to their electrostatic energy. The tree sings when the audience is touching or stroking lightly it.
In their artwork, the artists Scenocosme create hybrids between plants and digital technology. Plants are natural sensors and are sensitive to various energy flows. Digital technologies permit them to establish a relationship between plants and sound. They display the effects of random data flow and plant interaction. The data is modified as the spectator meanders around and touches the installation, resulting in a random musical universe. Audience contacts with plants generate sound effects and change in the texture of the sound. There is a specific vegetal language through sonorous compositions. They signify a character, a behavior having a feedback, an influence on the reaction, on the feeling and on the approach of the spectator.
Mixing reality with imagination, Scenocosme offer a sensory experience that encourages us to think about our invisible relationship with other living being. Phonofolium let us know about their existence by a scream, a melody or an acoustical vibration.

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Matières sensibles (Sensitive matters)
Sound Sculpture on wood / Interactive marquetry & Bio hacking

Matières sensibles (Sensitive matters) is a series of sculptures made of very thin and delicate wood veneer sheets. Here the artists use ash wood. These sheets of wood have distinct sonorous touch zones that follow the natural veins of wood. The researches of Scenocosme have enabled them to develop an artistic and technical process invisible and delicate.
A meticulous and invisible design work gives them the ability to define a musical score spread over different areas of the wood. They have invented this process of Bio hacking that they call «interactive marquetry».
Their wood sculptures produce sounds when the spectators touch them. They use sounds to stimulate haptic and gestural behaviour. Thus, the design of these sculptures looks like instruments which reveal by the touch various kind of sounds. According to sculptures, the relation can be sonorous or at the same time visual and sonorous.
Since many years, Scenocosme’s artists invent interactive works through a singular process of hybridizations between natural elements and technology. They create symbolic and sensorial relationships between the body and the environment natural or social. These wood sculptures offer a sensory and intimate relationship between the wood and the body of the viewer by revealing a sound memory in physical contact with the matter. The electrostatic energy of the human body is the trigger for this artwork. Interactive zones follow exactly the veins of wood.
This artwork has received
the Human Interface Award / Phaenomenale / Science & Art Festival / Phaeno Science Center - Wolfsburg (Germany)

Bios:

The couple artists Gregory Lasserre and Anais met den Ancxt work under the name Scenocosme.
They live in the Rhone-Alpes region in France.
Their singular artworks use diverse expressions: interactive installations, visual art, digital art, sound art, collective performances etc.... Scenocosme mix art and digital technology to find substances of dreams, poetry, sensitivity and delicacy. These artists overturn various technologies in order to create contemporary artworks. Their works came from possible hybridizations between the technology and living world (plants, stones, water, wood, humans.,..) which meeting points incite them to invent sensitive and poetic languages. The most of their interactive artworks feel several various relationships between the body and the environment. They can feel energetic variations of living beings and design interactive stagings in which spectators share extraordinary sensory experiences.
Their artworks are exhibited in numerous museums, contemporary art centres and digital art festivals in the world

 

 

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Press Release for the Interaktionslabor Manifesto released in September 2014

download here (english) / hier herunterladen (deutsch)